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TrtA tj orc RR e p l u 

FINE ARTS LIBRARY 

-VARD COLLEGE 
LIBRARY 




FROM THE BEQXJEST OF 

CHARLES SUMNER 

cuss OF1S30 

Sau^arfiom Massachusetts 



PCHHICS AND FDIB Ans 



TBOTISFERRED TO 



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^f^ w-T" — •*■ - " I I ^^•^^^^^^^w^^m^mm 



THE VENETIAN PAINTERS 



OF 



THE RENAISSANCE 



WITH AN INDEX TO THEIR WORKS 



BY 

BERNHARD BERENSON 



SECOND EDITION 



G. P. PUTNAM'S SONS 

NEW YORK LONDON 

37 WEST TWENTY-THIRD STREET 24 BEDFORD STREET, STRAND 

%\t $mcketbocket %ttt% 

1895 



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COPYRIGHT, 1894 
BY 

G. P. PUTNAM'S SONS 

Enttred at Staii&ner^ HaU^ London 
By G. p. Putnam's Sons 



Electrotyped, Printed ftnd Bound by / 

Ube Itnicftetbocftet pre66, l^ew Ifforft .^ 
G. P. Putnam's Sons ji -n 



PREFACE TO THE SECOND 
EDITION. 



T^HE indices of this second edition have 
been carefully revised, and a considerable 
number of additions have been made to the 
lists. 

The author begs once more to call attention 
to the fact that, with one or two exceptions, 
he has mentioned no pictures that he has not seen. 
The lists are the result, not of compilation, 
but of first-hand acquaintance with the works 
of art. 



Ill 



PREFACE. 



nPHE following essay owes its origin to the 
author's belief that Venetian painting is 
the most complete expression in art of the 
Italian Renaissance. The Renaissance is even 
more important typically than historically. 
Historically it may be looked upon as an age 
of glory or of shame according to the different 
views entertained of European events during 
the past five centuries. But typically it stands 
for youth, and youth alone — for intellectual 
curiosity and energy grasping at the whole of 
life as material which it hopes to mould to any 
shape. 

Every generation has an innate sympathy 
with some epoch of the past wherein it seems 
to find itself foreshadowed. Science has of late 
revealed and given much, but its revelation and 



VI 



PREFACE 



gifts are as nothing to the promise it holds out 
of constant acquisition and perpetual growth, 
of everlasting youth. We ourselves, because of 
our faith in science and the power of work, 
are instinctively in sympathy with the Renais- 
sance. Our problems do not seem so easy to 
solve, our tasks are more difficult because our 
vision is wider, but the spirit which animates 
us was anticipated by the spirit of the Renais- 
sance, and more than anticipated. That spirit 
seems like the small rough model after which 
ours is being fashioned. 

Italian painting interests many of us more 
than the painting of any other school not be- 
cause of its essential superiority, but because 
it expressed the Renaissance ; and Venetian 
painting is interesting above all because it was 
at Venice alone that this expression attained 
perfection. Elsewhere, particularly in Florence, 
it died away before it found complete utter- 
ance. 

In order to keep the main idea clearly be- 
fore the mind of the reader, to show him how 
the Renaissance reveals itself in Venetian 
painting, the introduction of anything not 



PREFACE vil 

strictly relevant to the subject has been 
avoided. The salient points once perceived 
and connected with the more important 
painters, the reader will find no difficulty in 
seeing the proper place of any given work by 
a great master, or the relative importance of 
those second- and third-rate painters of whom 
no special mention has been made because they 
are comprised within what has been said about 
the greater artists. 

But happily art is too great and too vital a 
subject to be crowded into any single formula ; 
and a formula that would, without distorting 
our entire view of Italian art in the fifteenth 
century, do full justice to such a painter as 
Carlo Crivelli, does not exist. He takes rank 
with the most genuine artists of all times and 
countries, and does not weary even when 
" great masters *' grow tedious. He expresses 
with the freedom and spirit of Japanese design 
a piety as wild and tender as Jacopo da Todi*s, 
a sweetness of emotion as sincere and dainty 
as of a Virgin and Child carved in ivory by a 
French craftsman of the fourteenth century. 
The mystic beauty of Simone Martini, the 



viii PREFACE 

agonized compassion of the young Bellini, are 
embodied by Crivelli in forms which have the 
strength of line and the metallic lustre of old 
Satsuma or lacquer, and which are no less 
tempting to the touch. Crivelli must be 
treated by himself and as the product of sta- 
tionary, if not reactionary, conditions. Having 
lived most of his life far away from the main 
currents of culture, in a province where St. 
Bernardino had been spending his last energies 
in the endeavour to call the world back to the 
ideals of an infantile civilisation, Crivelli does 
not belong to a movement of constant progress, 
and therefore is not within the scope of this 
work. 

To make the essay useful as a handbook to 
Venetian painting, lists have been appended of 
the works, in and out of Italy, by the principal 
Venetian masters. These lists do not pretend 
to absolute completeness. Only such private 
collections have been mentioned as are well 
known and accessible to students, although in 
the case of very rare painters all of their known 
works are given, and even such as are of doubt- 
ful authenticity are alluded to. The author 



PREFACE ix 

has seen and carefully considered all the pic- 
tures he mentions, except one or two at St. 
Petersburg, which are, however, well known 
from the photographs of MM. Braun & Cie. 
The attributions are based on the results of the 
most recent research. Even such painstaking 
critics of some years ago as Messrs. Crowe and 
Cavalcaselle laboured under terrible disadvan- 
tages, because most of their work was done at 
a time when travelling was much slower than 
it hcis now become, and when photography 
was not sufficiently perfected to be of great 
service. Rapid transit and isochromatic pho- 
tography are beginning to enable the student 
to make of connoisseurship something like an 
exact science. To a certain extent, therefore, 
Messrs. Crowe and Cavalcaselle have been 
superseded, and to a great degree supple- 
mented by the various writings of Morellj, 
Richter, Frizzoni, and others. The author takes 
pleasure in acknowledging his indebtedness to 
the first systematic writers on Italian painting 
no less than to the perf ectors of the new critical 
method, now adopted by nearly all serious 
students of Italian art. To the founder of 



X PREFACE 

the new criticism, the late Giovanni Morelli, 
and to his able successor, Dr. Gustavo Frizzoni, 
the author feels bound to ascribe many of his 
attributions, although a number are based on 
independent research, and for these he alone is 
responsible. Special thanks are due to a dear 
friend, Enrico Costa, for placing his notes of a 
recent visit to Madrid at the author's disposal. 
They have been used, with a confidence war- 
ranted by Signor Costa's unrivalled connois- 
seurship, to supplement the author's own notes, 
taken some years ago. 

* Having noted the dependence of scientific 
art study upon isochromatic photography, the 
author is happy to take this opportunity of ex- 
pressing his gratitude to such able photogra- 
phers as Lowy of Vienna, Tamme of Dresden, 
Marcozzi of Milan, Alinari Bros, of Florence, 
and Dominic Anderson of Rome, all of whom 
have devoted themselves with special zeal to the 
paintings of the Venetian masters. The author 
is peculiarly indebted to Signor Anderson for 
having materially assisted his studies by photo- 
graphing many pictures which at present have 
a scientific rather than a popular interest. 



PREFACE xi 

The frontispiece is a reproduction of Gior- 
gione's " Shepherd ** at Hampton Court, a 
picture which perhaps better than any other 
expresses the Renaissance at the most fascina- 
ting point of its course. The author is indebted 
to Mr. Sidney Colvin for permission to make 
use of a photograph taken at his order. 



CONTENTS. 



THE VENETIAN PAINTERS OF THE RENAIS 
SANCE 

I. Value of Venetian Art 

II. The Church and Painting ... 

III. The Renaissance .... 

IV. Painting and the Renaissance . 

V. Pageant Pictures .... 

VI. Painting and the Confraternities . 

VII. Easel Pictures and Giorgione . 

VIII. The Giorgionesque Spirit . 

IX. The Portrait 

X. The Young Titian .... 

XI. Apparent Failure of the Renaissance 

XII. Lotto 

XIII. The Late Renaissance and Titian . 

XIV. Humanity and the Renaissance 
XV. Seeastiano del Piombo 

XVJ. Tw^TOWitro ..,,,, 

• • « 



PAGB 

I 

I 
2 

5 

12 

17 

22 
26 

31 
32 

38 
41 

43 
44 

48 

49 

5^ 



XIV CONTENTS. 

PAGB 

XVII. Value of Minor Episodes in Art . . 56 

XVIII. Tintoretto's Portraits . . . .59 

XIX. Venetian Art and the Provinces . . 60 

XX. Paul Veronese 62 

XXI. Bassano, Genre, and Landscape . . 64 

XXII. The Venetians and Velasquez . , .70 

XXIII. Decline of Venetian Art . , . .71 

XXIV. LoNGHi 72 

XXV. Canaletto and Guardi . . . .74 

XXVI. TiEPOLO 75 

XXVII. Influence of Venetian Art . . . 77 

INDEX TO THE WORKS OF THE PRINCIPAL 
VENETIAN PAINTERS 79 

INDEX OF PLACES 131 



THE VENETIAN PAINTERS OF 
THE RENAISSANCE 

I. Value of Venetian Art.— Among the 
Italian schools of painting the Venetian has, 
for the majority of art-loving people, the 
strongest and most enduring attraction. In the 
course of the present brief account of the life 
of that school we shall perhaps discover some 
of the causes of our peculiar delight and inter- 
est in the Venetian painters, as we come to 
realise what tendencies of the human spirit their 
art embodied, and of what great consequence 
their example has been to the whole of Euro- 
pean painting for the last three centuries. 

The Venetians as a school were from the first 
endowed with exquisite tact in their use of 
colour. Seldom cold and rarely too warm, 
their colouring never seems an afterthought. 



2 THE VENETIAN PAINTERS 

as in many of the Florentine painters, nor is it 
always suggesting paint, as in some of the 
Veronese masters. When the eye has grown 
accustomed to make allowance for the darken- 
ing caused by time, for the dirt that lies in 
layers on so many pictures, and for unsuccess- 
ful attempts at restoration, the better Venetian 
paintings present such harmony of intention 
and execution as distinguishes the highest 
^ achievements of genuine poets. Their niastery 
; over colour is the first thing that attracts most 
people to the painters of Venice. Their colour- 
ing not only gives direct pleasure to the eye, 
but acts like music upon the moods, stimulat- 
ing thought and memory in much the same 
way as a work by a great composer. 

II. The Church and Painting.— The Church 
from the first took account of the influence 
of colour as well as of music upon the 
emotions. From the earliest times it em- 
ployed mosaic and painting to enforce its 
dogmas and relate its legends, not merely 
because this was the only means of reaching 
people who could neither read nor write, but 



THE CHURCH AND PAINTING 3 

also because it instructed them in a way which, 
far from leading to critical enquiry, was pecu- 
liarly capable of being used as an indirect 
stimulus to moods of devotion and contrition. 
Next to the finest mosaics of the first centuries, 
the ^arly wor ks of Giovanni Bellini, the greatest \;\/ 
Venetian master of the fifteenth century, best i 
fulfil this religious intention. Painting had in 
his life-time reached a point where the diflSculties 
of technique no longer stood in the way of the 
expression of profound emotion. No one can 
look at Bellini's pictures of the Dead Christ 
upheld by the Virgin or angels without being 
put into a mood of deep contrition, nor at his 
earlier Madonnas without a thrill of awe and 
reverence. And Giovanni Bellini does not 
stand alone. His contemporaries. Gentile Bel- 
lini, the Vivarini, Crivelli, and Cima da Cone- j 
gliano all began by painting in the same spirit,. J 
and produced almost the same effect. 

The Church, however, thus having educated 
people to understand painting as a language 
and to look to it for the; expression of their 
sincerest feelings, could not hope to keep it 
always confined to the channel of religious 



4 THE VENETIAN PAINTERS 

emotion. P^ple began to feel thejneed of 
painting as something that entered into their 
every-day lives almost as much as we nowadays 
feel the need of the newspaper ; nor was this 
unnatural, considering that, until the invention 
y of printing, painting was the only way, apart 
V' from direct speech, of conveying ideas to the 
nia§see. At about the time when Bellini and 
his contemporaries were attaining maturity, the 
Renaissance had ceased to be a movement 
carried on by scholars and poets alone. It had 
become sufficiently widespread to seek popular 
as well as literary utterance, and thus, toward 
the end of the fifteenth century, it naturally 
turned to painting, a vehicle of expression, 
which the Church, after a thousand years of 
use, had made familiar and beloved. 

To understand the Renaissance at the time 
when its spirit began to find complete embodi- 
ment in painting, a brief survey of the move- 
ment of thought in Italy during its earlier 
period is necessary, because only when that 
movement had reached a certain point did 
painting come to be its most natural medium 
of expression. 



i 



THE RENAISSANCE J 

III. The Renaissance. — The thousand 
years that elapsed between the triumph of 
Christianity and the middle of the fourteenth 
century have been not inaptly compared to 
the first fifteen or sixteen years in the life 
of the individual. Whether full of sorrows 
or joys, of storms or peace, these early years 
are chiefly characterised by tutelage and un- 
consciousness of personality. But toward the 
end of the fourteenth century something hap- 
pened in Europe that happens in the lives of 
all gifted individuals. There was an awaken- 
ing tothe^^sense of personality. Although it 
was felt to a greater or less degree everywhere, 
Italy felt the awakening earlier than the rest 
of Europe, and felt it far more strongly. Its 
first manifestation was a boundless and insatia- 
ble curiosity^ urging people to find out all they 
coulff about the world and about man. They 
turned eagerly to the study of classic literature 
and ancient monuments, because these gave 
the key to what seemed an immense store- 
house of forgotten knowledge; they were in 
fact led to antiquity by the same impulse 
which, a little later, brought about the in- 



6 THE VENETIAN PAINTERS 

vention of the printing-press and the discovery 
of America. 

j The first consequence of a return to classical 
I literature was the worship of human greatness. 
' Roman literature, which the Italians naturally 
mastered much earlier than Greek, dealt chiefly 
with politics and war, seeming to give an alto- 
gether disproportionate place to the individual, 
because it treated only of such individuals as 
were concerned in great events. It is but a 
step from realising the greatness of an event to 
believing that the persons concerned in it were 
equally great, and this belief, fostered by the 
somewhat rhetorical literature of Rome, met 
the new consciousness of personality more 
than half way, and led to that unlimited admi- 
ration for human genius and achievement 
which was so prominent a feature of t1^ early 
Renaissance. The two tendencies reacted upon 
each other. Roman literature stimulated the 
admiration for genius, and this admiration in 
turn reinforced the interest in that period of 
the world's history when genius was supposed 
to be the rule rather than the exception ; that 
is to say, it reinforced the interest in antiquity. 



THE RENAISSANCE 7 

The spirit of discovery, the never satisfied 
curiosity of this time, led to the study of 
ancient art as well as of ancient literature, and 
the love of antiquity led to the imitation of its 
buildings and statues as well as of its books 
and poems. Until comparatively recent times 
scarcely any ancient paintings were found, 
although buildings and statues were every- 
where to be seen, the moment anyone seriously 
thought of looking at them. The result was 
that while the architecture and sculpture of 
the Renaissance were directly and strongly 
influenced by antiquity, painting felt its influ- 
ence only in so far as the study of antiquity 
in the other arts had conduced to better 
draughtsmanship and purer taste. The spirit 
of discovery could thus show itself only indi- 
rectly in painting, — only in so far as it led 
painters to the gradual perfection of the tech- 
nical means of their craft 

Unlimited admiration for genius and won- 
der that the personalities of antiquity should 
have survived with their great names in no 
way diminished, soon had two consequences. 
One was love of glory, and the other the 



^^ 



8 THE VENETIAN PAINTERS 

patronage of those arts which were supposed 
to hand down a glorious name undiminished 
to posterity. The glory of old Rome had 
come down through poets and historians, 
architects and sculptors, and the Italians, feel- 
ing that the same means might be used to 
$ hand down the achievements of their own time 

to as distant a posterity, made a new religion 
of glory, with poets and artists for the priests. 
At first the new priesthood was confined almost 
entirely to writers, but in little more than 
a generation architects and sculptors began to 
have their part. The passion for building is in 
itself one of the most instinctive, and a man's 
name and armorial bearings, tastefully but 
prominently displayed upon a church or palace, 
were as likely, it was felt, to hand him down 
to posterity as the praise of poets or historians. 
f It was the passion for glory, in reality, rather 
; than any love of beauty, that gave the first 
impulse to the patronage of the arts in the 
. Renaissance. Beauty was the concern of the 
artists, although no doubt their patrons were 
well aware that the more impressive a building 
was, the more beautiful a monument, the more 



THE RENAISSANCE g 

likely was it to be admired, and the more 
likely were their names to reach posterity. 
Their instincts did not mislead them, for where 
their real achievements would have tempted 
only the specialist or antiquarian into a study 
of their career, the buildings and monuments 
put up by them — by such princes as Sigis- 
mondo Malatesta, Frederick of Urbino, or 
Alfonzo of Naples, — have made the whole in- 
telligent public believe that they were really 
as great as they wished posterity to believe 
them. 

As painting had done nothing whatever to 
transmit the glory of the great Romans, the 
earlier generations of the Renaissance expected 
nothing from it, and did not give it that 
patronage which the Church, for its own pur- 
poses, continued to hold out to it. The 
Renaissance began to make especial use of 
painting only when its own spirit had spread 
very widely, and when the love of knowledge, 
of power, and of glory had ceased to be the 
only recogfnised passions, and when, following 
the lead of the Church, people began to turn 
to painting for the expression of deep emotion. 



lO THE VENETIAN PAINTERS 

The new religion, as I have called the love 
of glory, is in its very essence a thing of this 
world, founded as it is on human esteem. 
The boundless curiosity of the Renaissance 
led back inevitably to an interest in life and to 
an acceptance of things for what they were, — 
for their intrinsic quality. jThe moment people 
stopped looking fixedly toward heaven their 
eyes fell upon the earth, and they began to 
see much on its surface that was pleasant\ 
Their own faces and figures must have struck 
them as surprisingly interesting, and, consider- 
ing how little St. Bernard and other mediaeval 
saints and doctors had led them to expect, 
singularly beautiful. A new feeling arose that 
mere living was a big part of life, and with 
it came a new passion, the passion for beauty, 
for grace, and for comeliness. 

It has already been suggested that the Re- 
naissance was a period in the history of modern 
Europe comparable to youth in the life of the 
individual. It had all youth's love of finery 
and of J>la;5^. The more people were imbued 
with the new spirit, the more they loved pa- 
geants. The pageant was an outlet for many of 



I 



THE RENAISSANCE 11 

the dominant passions of the time, for there a 
man could display all the finery he pleased, 
satisfy his love of antiquity by masquerading as 
Caesar or Hannibal, his love of knowledge by 
finding out how the Romans dressed and rode 
in triumph, his love of glory by the display of 
wealth and skill in the management of the cere- 
mony, and, above all, his love of feeling himself 
alive. Solemn writers have not disdained to 
describe to the minutest details many of the 
pageants which they witnessed. 

We have seen that the earlier elements of 
the Renaissance, the passionrf or knowledge and 
glory, were not of the kind to give a^new im- 
pulse to painting. Nor was the passion for 
antiquity at all so direct an inspiration to that 
art as it was to architecture and sculpture. The 
love of glory had, it is true, led such as could 
not afford to put up monumental buildings, to 
decorate chapels with frescoes in which their 
portraits were timidly introduced. But it was 
only when the Renaissance had attained to a 
full consciousness of its interest in life and en- 
joyment of the world that it naturally turned, 
and indeed was forced to turn, to painting; for 



12 THE VENETIAN PAINTERS 

it is obvious that painting is peculiarly fitted 
for rendering the appearances of things with a 
glow of light and richness of colour that cor- 
respond to and express warm human emotions. 

IV. Painting and the Renaissance. — 

When it once reached the point where its 
view of the world naturally sought expression 
in painting, as religious ideas had done before, 
the Renaissance found in Venice clearer utter- 
ance than elsewhere, and it is perhaps this fact 
which makes the most abiding interest of 
Venetian painting. It is at this point that we 
shall take it up. 

The growing delight in life with the conse- 
quent love of health, beauty, and joy were felt 
more powerfully in Venice than anywhere else 
in Italy. The explanation of this may be found 
in the character of the Venetian government 
which was such that it gave little room for the 
satisfaction of the passion for personal glory, 
and kept its citizens so busy in duties of stat e 
thatjhe y had srn alHeisure for learning. Some] 
of the chief passions of the Renaissance thusj 
finding no outlet in Venice, the other passions' 



\ 



X 



PAINTING AND THE RENAISSANCE 1 3 

insisted all the more on being satisfied. Venice)i 
moreover, was the only state in Italy which 
was enjoying, and for many generations had \ 
been enjoying, inte rnal peac e. This gave the \ 
Venetians a love of comfort, of ease, and ofr"^ 
splendour, a refinement of manner, and humane-i 
ness of feeling, which made them' the first 
really modern people in Europe. Since there 
was little room for personal glory in Venice, 
the perpetuators of glory, the Humanists, found 
at first scant encouragement there, and the 
Venetians were saved from that absorption in 
archaeology and pure science which overwhelmed 
Florence at an early date. This was not neces- 
sarily an advantage in itself, but it happened 
to suit Venice, where the conditions of life had 
for some time been such as to build up a love 
of beautiful things. As it was, the feeling for 
beauty was not hindered in its natural devel- 
opment. Archaeology would have tried to 
submit it to the good taste of the past, a 
proceeding which rarely promotes good taste:-Y^ 
in the present. Too^much archaeology and too / 
much science might have_ended in making 
Venetian art academic^Jni^teadjQf lettingitJae- 




14 THE VENETIA 

come what it did, the 
ripening of interest in lil 
In Florence, it is true, j 
almost simultaneously h 
it may be due to this vf 
entine painters never 
different task from the 
tor's was theirs. At thi 
the Renaissance was bej 
expression in painting, 
already too much attach 
form and composition, i 
demic, to give embodin 
feeling for life and plea; 
Thus it came to pass t! 
tures of the end of th 
find neither the contriti 
those earlier years wli 
employed painting as t 
tion, nor the learning w 
Florentines. The" Ver 
time, although nominal 
the Madonna and.saials 
ing handsome, healthy, 
selves, people who wor 






\ 



PAINTING AND THE EENAISSANCE 1 5 

with dignity^ who found life worth the^ mere 
livings and sought no metaphysical basis for it. 
In short, the Venetian pictures of the last 
decade of the century seemed intended not 
for devotion, as they had been, nor for admira- 
tion, as they then were in Florence, but for 

The Church itself, as has been said, had edu- 
X cated its children to understand painting as a 
language. Now that the passions men dared 
to avow were no longer connected with happi* 
ness in some future state only, but mainly with 
life in the present, painting was expected to 
give voice to these more human aspirations 
and to desert the outgrown ideals of the 
Church. In Florence, the painters seemed 
unable or unwilling to make their art really 
popular. Nor was it so necessary there, for 
Poliziano, Pulci, and Lorenzo dei Medici sup- 
plied the need of self-expression by addressing 
the Florentines in the language which their 
early enthusiasm for antiquity and their natural 
gifts had made them understand better than 
any other — the language of poetry. In Venice 
alone painting remained what it had been all 



l6 THE VENETIAN PAINTERS 

over Italy in earlier times, the common tongue 
of the whole mass of the people. Venetian 
artists thus had the strongest inducements to 
perfect the processes which painters must em- 
ploy to make pictures look real to their own 
generation ; and their generation had an alto- 
gether firmer hold on reality than any that had 
been known since the triumph of Christianity. 
Here again the comparison of the Renaissance 
to youth must be borne in mind. The grasp 
that youth has on reality is not to be compared 
to that brought by age, and we must not ex- 
pect to find in the Renaissance a passion for 
an acquaintance with things as they are such 
as we ourselves have ; but still its grasp of facts 
was far firmer than that of the Middle Ages. 

Painting, in accommodating itself to the new 
ideas, found that it could not attain to satisfac- 
tory representation merely by form and colour, 
but that it required light and shadow and 
effects qf.space. Indeed, venial faults of draw- 
ing are perhaps the least disturbing, while 
faults of perspective, of spacing, and of colour 
completely spoil a picture for people who have 
an every-day acquaintance with painting such 



■' 



PAGEANT PICTURES 1 7 

as the Venetians had. We find the Venetian 
painters, therefore, more and more intent upon 
giving the space they paint its real depth, upon 
giving solid objects the full effect of the round, 
upon keeping the different parts of a figure 
within the same plane, and upon compelling 
things to hold their proper places one behind 
the other. As early as the beginning of the 
sixteenth century a few of the greater Venetian 
painters had succeeded in making distant ob- 
jects less and less distinct, as well as smaller 
and smaller, and had succeeded also in giving 
some appearance of reality to the atmosphere. 
These are a few of the special problems of 
painting, as distinct from sculpture for instance, 
and they are problems which, among the 
Italians, only the Venetians and the painters 
closely connected with them solved with any 
success. 

V. Pageant Pictures.— The painters of the 
end of the fifteenth century who met with the 
greatest success in solving these problems were 
Giovanni and Gentile Bellini, Cima da Cone- 
gliano, and Carpaccio, and we find each of 



'/• 



1 8 THE VENETIAN PAINTERS 

them enjoyable to the degree that he was 
in touch with the life of his day. I have 
already spoken of pageants and of how char- 
acteristic they were of the Renaissance, form- 
ing as they did a sort of safety-valve for 
its chief passions. Venice, too, knew the love 
of glory, and the passion was perhaps only 
the more intense because it was all dedi- 
cated to the State. There was nothing the 
Venetians would not do to add to its great- 
ness, glory, and splendour. It was this which 
led them to make of the city itself that won- 
drous monument to the love and awe they felt 
for their Republic, which still rouses more ad- 
miration and gives more pleasure than any 
other one achievement of the art-impulse in 
man. They were not content to make their 
city the most beautiful in the world ; they per- 
formed ceremonies in its honour partaking of 
all the solemnity of religious rites. Proces- 
sions and pageants by land and by sea, free 
from that gross element of improvisation which 
characterised them elsewhere in Italy, formed 
no less a part of the functions of the Venetian 
State than the High Mass in the Catholic 



PAGEANT PICTURES I9 

Church. Such a function, with Doge and 
Senators arrayed in gorgeous costumes no less 
prescribed than the raiments of ecclesiastics, 
in the midst of the fairy-like architecture of the 
Piazza or canals, was the event most eagerly 
looked forward to, and the one that gave most 
satisfaction to the Venetian's love of his State, 
and to his love of splendour, beauty, and gaiety. 
He would have had them every 4ay if it were 
possible, and, to make up for their rarity, he 
loved to have representations of them. So 
most Venetian pictures of the beginning of the 
sixteenth century tended to take the form of 
magnificent processions, if they did not actually 
represent them. They are processions in the 
Piazza, as in Gentile Bellini's " Corpus Christi " 
picture, or on the water, as in Carpaccio's pict- 
ure where St. Ursula leaves her home ; or they 
represent what was a gorgeous but common 
sight in Venice, the reception or dismissal of 
ambassadors, as in several pictures of Carpac- 
cio's St. Ursula series ; or they show simply a 
collection of splendidly costumed people in the 
Piazza, as in Gentile's ** Preaching of St. Mark." 
Not only the pleasure-loving Carpaccio, but 



20 THE VENETIAN PAINTERS \ 



the austere Cima, as he grew older, turned 
every biblical and saintly legend into an occa- 
sion for the picture of a pageant. 

But there was a further reason for the popu- 
larity of such pictures. The decorations which 
were then being executed by the most reputed 
masters in the Hall of Great Council in the 
Doge's Palace, were, by the nature of the sub- 
ject, required to represent pageants. The 
Venetian State encouraged painting as did the 
Church, in order to teach its subjects its own 
glory in a way that they could understand 
without being led on to critical enquiry. 
Venice was not the only city, it is true, that 
used painting for political purposes; but the 
frescoes of Lorenzetti at Siena were admoni- 
tions to govern in accordance with the Cate- 
chism, while the pictures in the Great Hall of 
the Doge's Palace were of a nature to remind 
the Venetians of their glory and also of their 
state policy. These mural paintings represented 
such subjects as the Doge bringing about a 
reconciliation between the Pope and the Em- 
peror Barbarossa, an event which marked the 
first entry of Venice into the field of Conti- 



Pa dEANt Picft/kES 5 1 

hental politics, and. typified as well its un- 
changing policy, which was to gain its own 
ends by keeping a balance of power between 
the allies of the Pope and the allies of his 
opponents. The first edition, so to speak, of 
these works had been executed at the end of 
the fourteenth century and in the beginning 
of the fifteenth. Toward the end of that cen- 
tury it no longer satisfied the new feeling for 
reality and beauty, and thus had ceased to 
serve its purpose, which was to glorify the 
State. The Bellini, Alvise Vivarini, and Car- 
paccio were employed to make a second ren- 
dering of the very same subjects, and this 
gave the Venetians ample opportunity for 
finding out how much they liked pageant 
pictures. 

It is curious to note here that at the same 
time Florence also commissioned its greatest 
painters to execute works for its Council Hall, 
but left them practically free to choose their own 
subjects. Michelangelo chose for his theme 
" The Florentines while Bathing Surprised by 
the Pisans," and Leonardo " The Battle of the 
Standard." Neither of these was intended in 



52 TlTE VE^ETlA^r PAINTERS 

the first place to glorify the Florentine Re- 
public, but rather to give scope to the painter's 
genius, Michelangelo's for the treatment of the 
nude, Leonardo's for movement and animation. 
Each, having given scope to his peculiar talents 
in his cartoon, had no further interest, and 
neither of the undertakings was ever completed. 
Nor do we hear that the Florentine councillors 
enjoyed the cartoons, which were instantly 
snatched up by students who turned the hall 
containing them into an academy. 

VI. Painting and the Confraternities.— It 

does not appear that the Hall of Great Council 
in Venice was turned into a students' academy, 
and, although the paintings there doubtless gave 
a decided incentive to artists, their effect upon 
the public, for whom they were designed, was 
even greater. The councillors were not al- 
lowed to be the only people to enjoy fas- 
cinating pictures of gorgeous pageants and 
ceremonials. The Mutual Aid Societies — the 



** t 



Schools, as they were called — w^fe not long in 
getting the masters who were employed in the 
Doge's Palace to execute for their own meet- 



PAINTING AND THE CONFRATERNITIES 23 

ing_pl^aces pictures, equally splendid. The 
Schools of San Giorgio, Sant* Ursula, and Santo 
Stefano, employed Carpaccio, the Schools of 
San Giovanni and San Marco, Gentile Bellini, 
and other Schools employed minor painters. 
The works carried out for these Schools are of 
peculiar importance, both because they are all 
that remain to throw light upon the pictures in 
the Doge's Palace destroyed in the fire of 1576, 
and because they form a transition to the art 
of a later day. Just as the State chose sub- 
jects that glorified itself and taught its own 
history and policy, so the Schools had pictures 
painted to glorify their patron saints, and to 
keep their deeds and example fresh. Many 
of these pictures — most in fact — ^took the form 
of pageants ; but even in such, intended as 
they were for almost domestic purposes, the 
style of high ceremonial was relaxed, and 
elements taken directly from life were intro- 
duced. In his " Corpus Christi,'* Gentile Bellini 
paints not only the solemn and dazzling pro- 
cession in the Piazza, but the elegant young 
men who strut about in all their finery, the 
foreign loungers, and even the unfailing beggar 



24 THE VENETIAN P. 

by the portal of St. Mark's, 
of the True Cross," he intr 
taking care to bring out all i. 
lithe, comely figures as the] 
oar, and does not reject evei 
as a serving-maid standing in 
ing a negro who is about t 
canal. He treats this bit o 
all the charm and much of tt 
for simple effects of light ai 
Rnd in such Dutch painter 
Delft and Peter de Hoogh. 

Episodes such as this in 
earliest great Venetian masti 
on the public like a spark 
certainly found a sudden an 
i iy, for they play a more ar 
part in the pictures execute 
many of the subjects of -w 
turned into studies of ordin 
This was particularly true of 
paccio. Much as he loved 
homelier scenes as well. I- 
Ursula" shows us a younj 
room filled with the quiet n 



PaTnTINC Al^b THE COMFRATEkMlTlES 2^ 

deed, it may be better described as the picture 
of a room with the light playing softly upon 
its walls, upon the flower-pots in the window, 
and upon the writing-table and the cupboards. 
A young girl happens to be asleep in the bed, 
but the picture is far from being a merely eco- 
nomic illustration to this episode in the life of 
the saint. Again, let us take the work in the 
same series where King Maure dismisses the 
ambsissadors. Carpaccio has made this a scene 
of a chancellery in which the most striking fea- 
tures are neither the king nor the ambas- 
sadors, but the effect of the light that streams 
through a side door on the left and a poor 
clerk labouring at his task. Or, again, take St. 
Jerome in his study, in the Scuola di San 
Giorgio. He is nothing but a Venetian scholar 
seated in his comfortable, bright library, in the 
midst of his books, with his little shelf of bric- 
k-brac running along the wall. There is nothing 
in his look or surroundings to speak of a life of 
self-denial or of arduous devotion to the prob- 
lems of sin and redemption. Even the " Pre- 
sentation of the Virgin," which offered such a 
splendid chance for a pageant, Carpaccio, in 



\ 



26 T//M v£j\rj^r/AJ\r PAiMTEk^ 

one instance, turned into the picture of a sim- 
ple girl going to her first communion. In other 
words, Carpaccio's quality is the quality of a 
painter of genrcy of which he was the earliest 
Italian master. His genre differs from Dutch 
or French not in kind but in degree. Dutch 
genre is much more democratic, and, as paint- 
ing, it is of a far finer quality, but it deals with 
its subject, as Carpaccio does, for the sake of 
its own pictorial capacities and for the sake of 
the effects of colour and of light and shade. 

VII. Easel Pictures and Giorgione.— At 

the beginning of the Renaissance painting 
was almost wholly confined to the Church. 
From the Church it extended to the Council 
Hall, and thence to the Schools. There it 
rapidly developed into an art which had no 
higher aim than painting the sumptuous life of 
the aristocracy. When it had reached this 
point, there was no reason whatever why it 
should not begin to grace the dwellings of all 
well-to-do people. 

In the sixteenth century painting was not 
looked upon with the estranging reverence paid 



kASEL PICTORES ANb GIORCJON^ 27 

to it now. It was almost as cheap as printing 
has become since, and almost as much employed. 
When the Venetians had attained the point of 
culture where they were able to differentiate 
their sensations and distinguish pleasure from 
edification, they found that painting gave them 
decided plezisure. Why should they always 
have to go to the Doge's Palace or to some 
School to enjoy this plezisure? That would 
have been no less a hardship than for us never 
to hear music outside of a concert-room. This 
is no merely rhetorical comparison, for in the 
life of the Venetian of the sixteenth century 
painting took much the same place that music 
takes in ours. He no longer expected it to tell 
him stories or to teach him the Catechism. 
Printed books, which were beginning to grow 
common, amply satisfied both these needs. 
He had as a rule very little personal religion, 
and consequently did not care for pictures that 
moved him to contrition or devotion. He pre- 
ferred to have some pleasantly coloured thing 
that would put him into a mood connected with 
the side of life he most enjoyed — with refined 
merrymaking, with country parties, or with the 



28 THE VEM^tlAM PAlMTEkS 

sweet dreams of youth. Venetian painting 
alone among Italian schools was ready to sat- 
isfy such a demand, and it thus became the first 
genuinely modem art : for the most vital dif- 
ference that can be indicated between the arts 
in antiquity and modern times is this — that 
now the arts tend to address themselves more 
and more to the actual needs of men, while 
in olden times they were supposed to serve 
some more than human purpose. 

The pictures required for a house were natu- 
rally of a different kind from those suited to 
the Council Hall or the School, where large 
paintings, which could be filled with many 
figures, were in place. For the house smaller 
pictures were necessary, such as could easily be 
carried about. The mere dimensions, there- 
fore, excluded pageants, but, in any case, the 
pageant was too formal a subject to suit all 
moods — too much like a brass band always 
playing in the room. The easel picture had to 
be without too definite a subject, and could no 
more permit being translated into words than a 
sonata. Some of Giovanni Bellini's late works 
are already of this kind. They are full of that 



EASEL PICTURES AND GIORGIONE 29 

subtle, refined poetry which can be expressed 
in form and colour alone. But they were a 
little too austere in form, a little too sober in 
colour, for the gay, care-free youth of the time. 
Carpaccio does not seem to have painted many 
easel pictures, althougji his brilliancy, his de- 
lightful fancy, his love of colour, and his gaiety 
of humour would have fitted him admirably 
for this kind of painting. But Giorgione, the 
follower of both these masters, starting with 
the qualities of both as his inheritance, com- 
bined the refined feeling and poetry of Bellini 
with Carpaccio's gaiety and love of beauty and 
colour. Stirred with the enthusiasms of his 
own generation as people who had lived 
through other phases of feeling could not be, 
Giorgione painted pictures so perfectly in touch 
with the ripened spirit of the Renaissance that 
they met with the success which those things 
only find that at the same moment wake us to 
the full sense of a need and satisfy it. 

Giorgione*s life was short, and very few of 
his works — not a score in all — have escaped 
destruction. But these suffice to give us a 
glimpse into that brief moment when the Re- 



30 THE VENETIAN PAINTERS 

naissance found its most genuine expression in 
painting. Its over-boisterous passions had 
quieted down into a sincere appreciation of 
beauty and of human relations. It would be 
really hard to say more about Giorgione than 
this, that his pictures are the perfect reflex o f 
the Renaissance at its heig ht. His works, as 
well as those of his contemporaries and follow- 
ers, still continue to be appreciated most by 
people whose attitude of mind and spirit has 
most in common with the Renaissance, or by 
those who look upon Italian art not merely as 
art, but as the product of this period. For 
that is its greatest interest. Other schoob 
have accomplished much more in mere paint- 
ing than the Italian. A serious student of art 
will scarcely think of putting many of even the 
highest achievements of the Italians, considered 
purely as technique, beside the works of th^ 
great Dutchmen, the great Spaniard, or even 
the masters of to-day. Our real interest in 
Italian painting is at bottom an interest in that 
art which we almost instinctively feel to have 
been the fittest expression found by a period 
in the history of modem Europe which has 



THE GIORGIONESQUE SPIRIT 31 

much in common with youth. The Renais-_ 
^nce has thp faQrinatinn nf t^ose vears when 
we seemed so full of promise both ^r. nnrQ^lwQ 
and to evervhoHv i^lsp, 

VIII. The Giorgionesque Spirit. — Gior- 
gione created a demand which other painters 
were forced to supply at the risk of finding 
no favour. The older painters accommodated 
themselves as best they could. One of them 
indeed, turning toward the new in a way 
that is full of singular charm, gave his later 
works all the beauty and softness of the first 
spring days in Italy. Upon hearing the title 
of one of Catena's works in the National Gal- 
lery, " A Warrior Adoring the Infant Christ," 
who could imagine what a treat the picture 
itself had in store for him? It is a fragrant 
summer landscape enjoyed by a few quiet people, 
one of whom, in armour, with the glamour of the 
Orient about him, kneels at the Virgin's feet, 
while a romantic young page holds his horse's 
bridle. I mention this picture in particular be- 
cause it is so accessible, and so good an instance 
of the Giorgionesque way of treating a sub- 



32 THE VENETIAN PAINTERS 

ject ; not for the story, nor for the display of 
skill, nor for the obvious feeling, but for the 
lovely landscape, for the effects of light and 
colour, and for the sweetness of human rela- 
tions. Giorgione's altar-piece at Castelfranco 
is treated in precisely the same spirit, but with 
far more genius. 

The young painters had no chance at all un- 
less they undertook at once to furnish pictures 
in Giorgione's style. But before we can ap- 
preciate all that the younger men were called 
upon to do, we must turn to the consideration 
of that most wonderful product of the Renais- 
sance and of the painter's craft — the Portrait. 

IX. The Portrait. — The longing for the 
perpetuation of one's fame, which has already 
been mentioned several times as one of the 
chief passions of the Renaissance, brought with 
it the more universal desire to hand down the 
memory of one's face and figure. The surest 
way to siccomplish this end seemed to be the 
one which had proved successful in the case of 
the great Romans, whose effigies were growing 
more and more familiar as new busts and 



J 



THE PORTRAIT 33 

medals were dug up. The earlier generations 
of the Renaissance relied therefore on the 
sculptor and the medallist to hand down their 
features to an interested posterity. These 
artists were ready for their task. The mere 
materials gave them solidity, an effect so hard 
to get in painting. At the same time, nothing 
was expected from them except that they 
should mould the material into the desired 
shape. No setting was required and no colour. 
Their art on this account alone would natu- 
rally have been the earliest to reach fruition. 
But over and above this, sculptors and medal- 
lists had the direct inspiration of antique 
models, and through the study of these they 
were at an early date brought in contact with 
the tendencies of the Renaissance. The passion 
then prevailing for pronounced types, and the 
spirit of analysis this produced, forced them 
to such patient study of the face as would 
enable them to give the features that look 
of belonging to one consistent whol^which 
we call character. Thus, at a time *when 
painters had not yet learned to distinguish 
between one face and another, Donatello was 



34 THE VENETIAN PAINTERS 

carving busts which remain unrivalled as studies 
of character, and Pisanello was casting bronze 
and silver medals which are among the greatest 
claims to renown of those whose effigies they 
bear. 

Donatello's bust of Niccolo d'Uzzano shows 
clearly, nevertheless, that the Renaissance 
could not long remain satisfied with the sculp- 
tured portrait. It is coloured like nature, and 
succeeds so well in producing for an instant 
the effect of actual life as to seem uncanny the 
next moment. Donatello's contemporaries 
must have had the same impression, for busts 
of this kind are but few. Yet these few prove 
that the element of colour had to be included 
before the satisfactory portrait was found : in 
other words, that painting and not sculp- 
ture was to be the portrait-art of the Renais- 
sance. 

The most creative sculptor of the earlier 
Renaissance was not the only artist who felt 



>^^^the ng^ of colour in portraiture. Vittore 
>. ^^ ^S Pisafl^the greatest medallist of this or any 



\\" 



"^ J^' age, felt it quite as keenly, and being a painter 

V L * as well, he was among the first to turn this art 



THH PORTRAIT 35 

to portraiture. In his day, however, painting 
was still too undeveloped an art for the portrait 
not to lose in character what it gained in a 
more lifelike colouring, and the two of Pisa- 
nello's portraits which still exist are profiles 
much inferior to his best medals, seeming 
indeed to be enlargements of them rather than 
original studies from life. 

It was only in the next generation, when 
the attention of painters themselves was 
powerfully concentrated upon the reproduc- 
tion of strongly pronounced types of humanity, 
that they began to make portraits as full of 
life and energy as Donatello*s busts of the 
previous period. Even then, however, the 
full face was rarely attempted, and it was only 
in the beginning of the sixteenth century that 
full-face portraits began to be common. The 
earliest striking achievement of this sort, Man- 
tegna*s head of Cardinal Scarampo (now in 
Berlin), was not the kind to find favour in 
Venice. The full-face likeness of this wolf 
in sheep's clothing brought out the workings 
of the self-seeking, cynical spirit within too 
clearly not to have revolted the Venetians, 



36 THE VENETIAN PAINTERS 

who looked upon all such qualities as impious 
in the individual because they were the strict 
nrionopoly of the State. In the portraits of 
Doges which decorated the frieze of its great 
Council Hall, Venice wanted the effigies of 
functionaries entirely devoted to the State, and 
not of great personalities, and the profile lent 
itself more readily to the omission of purely 
individual traits. 

It is significant that Venice was the first 
state which made a business of preserving the 
portraits of its chief rulers. Those which 
Gentile and Giovanni Bellini executed for this 
end must have had no less influence on por- 
traiture than their mural paintings in the same 
Hall had on other branches of the art. But 
the State was not satisfied with leaving records 
of its glory in the Ducal Palace alone. The 
Church and the saints were impressed for the 
same purpose — happily for us, for while the 
portraits in the Great Hall have perished, sev- 
eral altar-pieces still preserve to us the like- 
nesses of some of the Doges. 

Early in the sixteenth century, when people 
began to want pictures in their own homes as 



THE PORTRAIT 37 

well as in their public halls, personal and reli- 
gious motives combined to dictate the choice 
of subjects. In the minds of many, painting, 
although a very familiar art, was too much 
connected with solemn religious rites and with 
state ceremonies to be used at once for ends of 
personal pleasure. So landscape had to slide 
in under the patronage of St. Jerome ; while 
romantic biblical episodes, like the " Finding of 
Moses," or the " Judgement of Solomon," gave 
an excuse ior genre, and the portrait crept in half 
hidden under the mantle of a patron saint. Its 
position once secure, however, the portrait 
took no time to cast off all tutelage, and to 
declare itself one of the most attractive sub- 
jects possible. Over and above the obvious 
satisfaction afforded by a likeness, the portrait 
had to give pleasure to the eye, and to pro- 
duce those agreeable moods which were ex- 
pected from all other paintings in Giorgione*s 
time. Portraits like that of Scarampo are 
scarcely less hard to live with than such a 
person himself must have been* They tyran- 
nize rather than soothe and please. But Gior- 
gione and his immediate followers painted men 



38 THE VENETIAN PAINTERS 

and women whose very look leads one to think 
of sympathetic friends, people whose features 
are pleasantly rounded, whose raiment seems 
soft to touch, whose surroundings call up the 
memory of sweet landscapes and refreshing 
breezes. In fact, in these portraits the least 
apparent object was the likeness, the real pur- 
pose being to please the eye and to turn the 
mind toward pleasant themes. This no doubt 
helps to account for the great popularity of 
portraits in Venice during the sixteenth cen- 
tury. Their number, as we shall see, only 
grows larger as the century advances. 

X. The Young Titian.— Giorgione's fol- 
lowers had only to exploit the vein their 
master hit upon to find ample remunera- 
tion. Each, to be sure, brought a distinct 
personality into play, but the demand for 
the Giorgionesque article, if I may be allowed 
the phrase, was too strong to permit of much 
deviation. It no longer mattered what the 
picture was to fepresent or where it was going 
to be placed ; the treatment had to be always 
bright, romantic, and joyous. Many artists still 



THE YOUNG TITIAN 39 

confined themselves to painting ecclesiastical 
subjects chiefly, but even among these, such 
painters as Lotto and Palma, for example, are 
fully as Giorgionesque as Titian, Bonifazio, or 
Paris Bordone. 

Titian, in spite of a sturdier, less refined 
nature, did nothing for a generation after 
Giorgione*s death but work on his lines. A 
difference in quality between the two masters 
shows itself from the first, but the spirit that 
animated each is identical. The pictures Titian 
was painting ten years after his companion's 
death have not only many of the qualities of 
Giorgione*s, but something more, as if done by 
an older Giorgione, with better possession of 
himself, and with a larger and firmer hold on 
the world. At the same time, they show no 
diminution of spontaneous joy in life, and even 
an increased sense of its value and dignity. 
What an array of masterpieces might be 
brought to witness ! In the " Assumption," 
for example, the Virgin soars heavenward, not 
helpless in the arms of angels, but borne up by 
the fulness of life within her, and by the feel- 
ing that the universe is naturally her own, and 



»» 



»» 



40 THE VENETIAN PAINTERS 

that nothing can check her course. The angels 
seem to be there only to sing the victory of a 
human being over his environment. They are 
-embodied joys, acting on our nerves like the 
rapturous outburst of the orchestra at the end 
of " Parsifal.** Or look at the " Bacchanals 
in Madrid, or at the " Bacchus and Ariadne 
in the National Gallery. How brimful they 
are of exuberant joy! you see no sign of a 
struggle of inner and outer conditions, but life 
so free, so strong, so glowing, that it almost 
intoxicates. They are truly Dionysiac, Bac- 
chanalian triumphs — the triumph of life over 
the ghosts that love the gloom and chill and 
hate the sun. 

The portraits Titian painted in these years 
show no less feeling of freedom from sordid 
cares, and no less mastery over life. Think of 
" The Man with the Glove '* in the Louvre, of 
the " Concert," and " Young Englishman ** in 
Florence, and of the Pesaro family in their 
altar-piece in the Frari at Venice — call up these 
portraits, and you will see that they are true 
children of the Renaissance whom life has 
taught no meannesses and no fears. 



APPAREl^T PaILVRE 41 

XL Apparent Failure of the Renaissance. 

— But even while such pictures were being 
painted, the spirit of the Italian Renaissance 
was proving inadequate to life. This was not* 
the fault of the spirit, which was the spirit of 
youth. But youth cannot last more than a 
certain length of time. No matter how it is | 
spent, manhood and middle age will come.' 
Life began to show a sterner and more sober 
face than for a brief moment it had seemed to 
weaff Men became conscious that the passions . 
for knowledge, for glory, and for personal ad- 
vancement were not at the bottom of all the 
problems that life presented. Florence and 
Rome discovered this suddenly, and with a 
shock. In the presence of Michelangelo's sculp- 
tures in San Lorenzo, or of his "Last Judg- 
nrent,** we still hear the cry of anguish that went 
up as the inexorable truth dawned upon them. 
But Venice, although humiliated by the League 
of Cambrai, impoverished by the Turk, and by 
the change in the routes of commerce, was not 
crushed, as was the rest of Italy, under the 
heels of Spanish infantry, nor so drained of 
resource as not to have some wealth still flow- 



42 THE VENETIAN PAINTERS 

ing into her coffers. Life grew soberer and 
sterner, but it was still amply worth the living, 
although the relish of a little stoicism and of 
earnest thought no longer seemed out of place. 
The spirit of the Renaissance had found its 
way to Venice slowly ; it was even more slow 
I to depart. 

We therefore find that toward the middle of 
the sixteenth century, when elsewhere in Italy 
painting was trying to adapt itself to the hy- 
pocrisy of a Church whose chief reasoff for 
surviving as an institution was that it helped 
Spain to subject the world to tyranny, and 
when portraits were already exhibiting the fas- 
cinating youths of an earlier generation turned 
into obsequious and elegant courtiers, — in 
Venice painting kept true to the ripened and 
more reflective spirit which succeeded to thfe 
most glowing decades of the Renaissance. This 
led men to take themselves more seriously, to- 
act with more consideration of consequences, 
and to think of life with less hope and exulta- 
tion. Quieter joys were sought, the pleasures 
of friendship and of the affections. Life not 
having proved the endless holiday it had prom- 



J 



LOTTO 43 

ised to be, earnest people began to question 
whether under the gross masque of the official 
religion there was not something to console 
them for departed youth and for the failure of 
hopes. Thus religion began to revive in Italy, 
this time not ethnic nor political, but personal, 
— an answer to the real needs of the human 
soul. 

XII. Lotto. — It is scarcely to be wondered at 
that the Venetian artist in whom we first find 
the expression of the new feelings, should have 
been one who by wide travel had been brought 
in contact with the miseries of Italy in a way not 
possible for those who remained sheltered in 
Venice. Lorenzo Lotto, when he is most him- 
self, does not paint the triumph of man over 
his environment, but in his altar-pieces, and 
even more in his portraits, he shows us people \t 
in want of the consolations of religion, of sober 
thought, of friendship and affection. They 
look out from his canvases as if begging for 
sympathy. 

But real expression for the new order of 
things was not to be found by one like Lotto, 



44 THE VENETIAN PAINTERS 

sensitive of feeling and bom in the heyday of 
the Renaissance, to whom the new must have 
come as a disappointment. It had to come 
from one who had not been brought in personal 
contact with the woes of the rest of Italy, from 
one less conscious of his environment, one like 
Titian who was readier to receive the patronage 
of the new master than to feel an oppression 
which did not touch him personally ; or it had 
to come from one like Tintoretto, bom to the 
new order of things and not having to outlive a 
disappointment before adapting himself to it. 

XIIL The Late Renaissance and Titian. 

— It is as impossible to keep untouched by 
what happens to your neighbours as to have a 
bright sky over your own house when it is 
stormy everywhere else. Spain did not di- 
rectly dominate Venice, but the new fashions 
of life and thought inaugurated by her nearly ^ 
universal triumph could not be kept out. Her 
victims, among whom the Italian scholars must 
be reckoned, flocked to Venice for shelter, per- 
secuted by a rule that cherished the Inquisi- 
tion. Now for the first time Venetian painters 



THE LATE RENAISSANCE AND TITIAN 45 

were brought in contact with men of letters. 
As they were already, fortunately for them, 
selves, too well acquainted with the business of 
their own art to be taken in tow by learning or 
even by poetry, the relation of the man of let- 
ters to the painter became on the whole a stim- 
ulating and at any rate a profitable one, as in 
the instance of two of the greatest, where it 
took the form of a partnership for mutual ad- 
vantage. It is not to our purpose to speak of 
Aretino*s gain, but Titian would scarcely have 
acquired such fame in his lifetime if that founder 
of modem journalism, Pietro Aretino, had not 
been at his side, eager to trumpet his praises 
and to advise him whom to court. 

The overwhelming triumph of Spain entailed 
still another consequence. It brought home 
to all Italians, even to the Venetians, the sense J 
of the individuaFs helplessness before organ- 
ized power — a sense which, as we have seen, 
the early Renaissance, with its belief in the 
omnipotence of the individual, totally lacked. 
This was not without a decided influence 
on art. In the last three decades of- his 
long career, Titian did not paint man as if 



46 THE VENETIAN PAINTERS 

he were as free from care and .as fitted to his 
environment as a lark on an April morning. 
\Rather did he represent man as acting on his 
'environment and suffering from its reactions. 
He made the faces and figures show clearly 
what life had done to them. The great " Ecce 
Homo " and the " Crowning with Thorns ** are 
imbued with this feeling no less than the eques- 
trian portrait of Charles the Fifth. In the 
** Ecce Homo** we see a man with a godlike 
personality, humbled by the imperial majesty, 
broken by the imperial power, and utterly un- 
able to hold out against them. In the ** Crown- 
ing with Thorns '* we have the same godlike 
being almost brutalised by pain and suffering. 
In the portrait of the Emperor we behold a 
man whom life has enfeebled, and who has to 
meet a foe who may crush him. 

Yet Titian became neither soured nor a pes- 
simist. Many of his late portraits are even 
more energetic than those of his early matu- 
rity. He shows himself a wise man of the 
world. *' Do not be a grovelling sycophant," 
some of them seem to say, " but remember 
that courtly manners and tempered elegance 



THE LATE RENAISSANCE AND TITIAN 47 

can do you no harm/* Titian, then, was ever 
ready to change with the times, and on the 
whole the change was toward a firmer grasp of 
reality, necessitating yet another advance in 
the painter's mastery of his craft. Titian's 1 
real greatness consists in the fact that he was ' 
as able to produce an effect of greater reality 
as he was ready to appreciate the need of a 
firmer hold on life. In painting, as I have 
said, a greater effect of reality is chiefly a mat- 
ter of light and shadow, to be obtained only 
by considering the canvas as an enclosed 
space, filled with light and air, through which 
the objects are seen. There is more than one 
way of getting this effect, but Titian attains it 
by the almost total suppression of outlines, by 
the harmonising of his colours, and by the 
largeness and vigour of his brushwork. In 
fact, the old Titian was, in his way of painting, 
remarkably like some of the best French mas- 
ters of to-day. This makes him only the more 
attractive, particularly when with handling of 
this kind he combined the power of creating 
forms of beauty such as he has given us in the 
'* Wisdom " of the Venetian Royal Palace, or 



48 THE VENETIAN PAINTERS 

in the " Shepherd and Nymph ** of Vienna. 
The difference between the old Titian, author 
of these works, and the young Titian, painter 
of the " Assumption,*' and of the " Bacchus 
and Ariadne," is the difference between the 
Shakspeare of the " Midsummer - Night's 
Dream " and the Shakspeare of the ** Tem- 
pest." Titian and Shakspeare begin and end 
so much in the same way by no mere accident. 
They were both products of the Renaissance, 
they underwent similar changes, and each was 
the highest and completest expression of his 
own age. This is not the place to elaborate 
the comparison, but I have dwelt so long on 
Titian, because, historically considered, he is 
the only painter who expressed nearly all of 
the Renaissance that could find expression in 
painting. It is this which makes him even 
more interesting than Tintoretto, an artist who 
in many ways was deeper, finer, and even more 
brilliant. 

XIV. Humanity and the Renaissance.— 

Tintoretto grew to manhood when the fruit 
of the Renaissance was ripe on every bough. 



SEBASTIANO DEL PIOMBO 49 

The Renaissance had resulted in the emancipa- 
tion of the individual, in making him feel that 
the universe had no other purpose than his 
happiness. This brought an entirely new an- 
swer to the question, " Why should I do this 
or that ? " It used to be, " Because self-insti- 
tuted authority commands you.** The answer 
now was, " Because it is good for men." In this 
lies our greatest debt to the Renaissance, that 
it instituted the welfare of man as the end of 
all action. The Renaissance did not bring this 
idea to practical issue, but our debt to it is 
endless on account of the results the idea has 
produced in our own days. This alone would 
have made the Renaissance a period of peculiar 
interest, even if it had had no art whatever. 
But when ideas are fresh and strong, they are 
almost sure to find artistic embodiment, as 
indeed this whole epoch found in painting, 
and this particular period in the works of 
Tintoretto. 

XV, Sebastiano del Piombo. — The eman- 
cipation of the individual had a direct effect \ 

on the painter in freeing him from his guild, 
4 



50 THE VENETIAN PAINTERS 

It now occurred to him that possibly ke 
might become more proficient and have 
greater success if he deserted the influences he 
was under by the accident of birth and resi- 
dence, and placed himself in the school that 
seemed best adapted to foster his talents. This 
led to the unfortunate experiment of Eclecti- 
cism which checked the purely organic develop- 
ment of the separate schools. It brought 
about their fusion into an art which no longer 
appealed to the Italian people, as did the art 
which sprang naturally from the soil, but to the 
small class of dilettanti who considered a knowl- 
edge of art as one of the birthrights of their 
social position. Venice, however, suffered lit- 
tle from Eclecticism, perhaps because a strong 
sense of individuality was late in getting there, 
and by that time the painters were already well 
enough educated in their craft to know that 
they had little to learn elsewhere. The one 
Venetian who became an Eclectic, remained 
in spite of it a great painter. Sebastiano del 
Piombo fell under the influence of Michelan- 
gelo, but while this influence was pernicious in 
most cases, the hand that had learned to paint 



TINTORETTO 5 1 

under Bellini, Cima, and Giorgione, never 
wholly lost its command of colour and tone. 

XV I. Tintoretto. — ^Tintoretto stayed at 
home, but he felt in his own person a 
craving for something that Titian could 
not teach him. The Venice he was born in 
was not the Venice of Titian's early youth, 
and his own adolescence fell in the period when 
Spain was rapidly making herself mistress of 
Italy. The haunting sense of powers almost 
irresistible gave a terrible fascination to 
Michelangelo's works, which are swayed by 
that sense as by a demonic presence. Tinto-, 
retto felt this fascination because he was in 
sympathy with the spirit which took form in 
colossal torsoes and limbs. To him these were 
not, as they were to Michelangelo's enrolled 
followers, merely new patterns after which to 
model the nude. 

But beside this sense of overwhelming power 
and gigantic force, Tintoretto had to an even 
greater degree the feeling that whatever existed 
was for mankind and with reference to man. 
In his youth people were once more turning to 



$2 THE VENETIAN PAINTERS 

religion, and in Venice poetry was making 
its way more than it had previously done, not 
only because Venice had become the refuge of 
men of letters, but alsoilecause of the diffusion 
of printed books. Tintoretto took to the new 
feeling for religion and poetry as to his birth- 
right. Yet whether classic fable or biblical 
episode were the subject of his art, Tintoretto 
coloured it with his feeling for the human life 
at the heart of the story. His sense of power 
did not express itself in colossal nudes so much 
as in the immense energy, in the glowing 
health of the figures he painted, and more still 
in his effects of light, which he rendered as if 
he had it in his hands to brighten or darken 
the heavens at will and subdue them to his 
own moods. 

He could not have accomplished this, we 
may be sure, if he had not had even greater 
skill than Titian in the treatment of light and 
shadow and of atmosphere. It was this which 
enabled him to give such living versions of 
biblical stories, and saintly legends. For, 
granting that an effect of reality were attain- 
able in painting without an adequate treatment 



TWTOkETTO 53 

of light and atmosphere, even then, the reality 
would look hideous, as it does in many modern 
painters who attempt to paint people of to-day 
in their every-day dress and among their usual 
surroundings. It is not " Realism *' which 
makes such pictures hideous, but the want of 
that toning down which the atmosphere gives 
to things in life, and of that harmonising to 
which the light subjects all colours. 

It was a great mastery of light and shadow 
which enabled Tintoretto to put into his pic- 
tures all the poetry there was in his soul with- 
out once tempting us to think that he might 
have found better expression in words. The 
poetry which quickens most of his works in the 
Scuola di San Rocco is almost entirely a matter 
of light and colour. What is it but the light 
that changes the solitudes in which the Mag- 
dalen and St. Mary of Egypt are sitting, into 
dreamlands seen by poets in their moments of 
happiest inspiration? What but light and 
colour, the gloom arid chill of evening, with 
the white-stoled figure standing resignedly be- 
fore the judge, that give the " Christ before 
Pilate '* its sublime magic ? What, again, but 



54 ^-^^ vmnMtiAi/ Paij^tehs 

light, colour, and the star-procession of cherubs 
that imbue the realism of the ** Annunciation " 
with music which thrills us through and 
through ? 

Religion and poetry did not exist for Tinto- 
retto because the love and cultivation of the 
Muses was a duty prescribed by the Greeks 
and Romans, and because the love of God and 
the saints was prescribed by the Church ; but 
rather, as was the case with the best people of 
his time, because both poetry and religion were 
useful to man. They helped him to forget 
what was mean and sordid in life, they braced 
him to his task, and consoled him for his dis- 
appointments. Religion answered to an ever- 
living need of the human 'heart. The Bible 
was no longer a mere document wherewith to 
justify Christian dogma. It was rather a series 
of parables and symbols pointing at all times 
to the path that led to a finer and nobler life. 
Why then continue to picture Christ and the 
Apostles, the Patriarchs and Prophets^ as per- 
sons living under Roman rule, wearing the 
Roman toga, and walking about in the land- 
scape of a Roman bas-relief ? Christ and the 



TINTORETTO 55 

Apostles, the Patriarchs and Prophets, were 
the embodiment of living principles and of 
living ideals. Tintoretto felt this so vividly 
that he could not think of them otherwise than 
as people of his own kind, living under condi- 
tions easily intelligible to himself and to his 
fellow-men. Indeed, the more intelligible and 
the more familiar the look and garb and sur- 
roundings of biblical and saintly personages, 
the more would they drive home the principles 
and ideas they incarnated. So Tintoretto did 
not hesitate to turn every biblical episode into 
a picture of what the scene would look like had 
It taken place under his own eyes, nor to tinge 
it with his own mood. 

His conception of the human form was, it is 
true, colossal, although the slender elegance that 
was then coming into fashion, as if in protest 
against physical force and organisation, influ- 
enced him considerably in his construction of 
the female figure ; but the effect which he 
must always have produced upon his contem- 
poraries, and which most of his works still pro- 
duce, is one of astounding reality as well as of 
wide sweep and power. Thus, in the " Discov- 



56 THE VENETIAN PAINTERS 

ery of the Body of St. Mark/' in the Brera, 
and in the " Storm Rising while the Corpse is 
being Carried through the Streets of Alexafn- 
dria," in the Royal Palace at Venice, the fig- 
ures, although colossal, are so energetic and so 
easy in movement, and the effects of perspec- 
tive and of light and atmosphere are so on a 
level with the gigantic figures, that the eye at 
once adapts itself to the scale, and you feel as 
if you too partook of the strength and health 
of heroes. 

XVIL Value of Minor Episodes in Art.— 

That feeling for reality which made the 
great painters look upon a picture as the repre- 
sentation of a cubic content of atmosphere 
enveloping all the objects depicted, made them 
also consider the fact that the given quantity 
of atmosphere is sure to contain other objects 
than those the artist wants for his purpose. 
He is free to leave them out, of course, but in 
so far as he does, so far is he from producing 
an effect of reality. The eye does not see 
everything, but all the eye would naturally see 
along with the principal objects, must be 



\ 



Valve of minor episodes in aet 57 

> 

painted, or the picture will not look true to 
life. This incorporation of small episodes run- 
ning parallel with the subject rather than form- 
ing part of it, is one of the chief characteristics 
of modern as distinguished from ancient art. 
It is this which makes the Elizabethan drama 
so different from the Greek. It is this again 
which already separates the works of Duccio 
and Giotto from the plastic arts of Antiquity. 
Painting lends itself willingly to the considera- 
tion of minor episodes, and for that reason is 
almost as well fitted to be in touch with mod- 
ern life as the novel itself. Such a treatment 
saves a picture from looking prepared and cold, 
just as light and atmosphere save it from rigid- 
ity and crudeness. 

No better illustration of this can be found 
among Italian masters than Tintoretto's ** Cru- 
cifixion" in the Scuola di San Rocco. The 
scene is a vast one, and although Christ is on 
the Cross, life does not stop* To most of the 
people gathered there, what takes place is no 
more than a common execution. Many of them 
are attending to it as to a tedious duty. Others 
work away at some menial task more or less 



5 8 ThR VMAtETlAl/ PAtNfEkS 

connected with the Crucifixion, as unconcerned 
as cobblers humming over their last. Most of 
the people in the huge canvas are represented, 
as no doubt they were in life, without much per- 
sonal feeling about Christ. His own friends are 
painted with all their grief and despair, but the 
others are allowed to feel as they please. The 
painter does not try to give them the proper 
emotions. If one of the great novelists of to- 
day, if Tolstoi, for instance, were to describe the 
Crucifixion, his account would read as if it were 
a description of Tintoretto's picture. But Tin- 
toretto's fairness went even further than letting 
all the spectators feel as they pleased about 
what he himself believed to be the greatest 
event that ever took place. Among this multi- 
tude he allowed the light of heaven to shine 
upon the wicked as well as upon the good, and 
the air to refresh them all equally. In other 
words, this enormous canvas is a great sea of 
air and light at the bottom of which the scene 
takes place. Without the atmosphere and the 
just distribution of light, it would look as life- 
less and desolate, in spite of the crowd and ani- 
mation, as if it were the bottom of a dried up sea. 



TtNTdkEtT&S PORTRAITS J^ 

XVIII. Tintoretto's Portraits— While 
all these advances were being made, the 
art of portraiture had not stood still. Its 
popularity had only increased as the years 
went on. Titian was too busy with commis- 
sions for foreign princes to supply the great 
demand there was in Venice alone. Tintoretto 
painted portraits not only with much of the 
air of good breeding of Titian's likenesses, but 
with even greater splendour, and with an 
astonishing rapidity of execution. The Vene- 
tian portrait, it will be remembered, was ex- 
pected to be more than a likeness. It was 
expected to give pleasure to the eye, and to 
stimulate the emotions. Tintoretto was ready 
to give ample satisfaction to all such expecta- 
tions. His portraits, although they are not so 
individualised as Lotto's, nor such close studies 
of character as Titian's, always render the man 
at his best, in glowing health, full of life and 
determination. They give us the sensuous 
pleasure we get from jewels, and at the same 
time they make us look back with amazement 
to a State where the human plant was in 
such vigour as to produce old men of the 



6o THE VENETIAN PAWTERS 

kind represented in most of Tintoretto's por- 
traits. 

With Tintoretto ends the universal interest 
the Venetian school arouses ; for although 
painting does not deteriorate in a day any more 
than it grows to maturity in the same brief 
moment, the story of the decay has none of 
the fascination of the growth. But several 
artists remain to be considered who were not 
of the Venetian school in the strict sense of 
the term, but who have always been included 
within it. 

XIX. Venetian Art and the Provinces. — 

The Venetian provinces were held together 
not merely by force of rule. In language and 
feeling no less than in government, they formed 
a distinct unit within the Italian peninsula. 
Painting being so truly a product of the soil 
as it was in Italy during the Renaissance, the 
art of the provinces could not help holding the 
same close relation to the art of Venice that 
their language and modes of feeling held. But 
a difference must be made at once between 
towns like Verona, with a school of at least as 



VENETIAN ART AND THE PROVINCES 6l 

long a growth and with as independent an evo- 
lution as the school of Venice itself, and towns 
like Vicenza and Brescia whose chief painters 
never developed quite independently of Venice 
or Verona. What makes Romanino and 
Moretto of Brescia, or even the powerful Mon- 
tagna of Vicenza, except when they are at 
their very best, so much less enjoyable as a rule 
than the Venetians — that is to say the paint- 
ers wholly educated in Venice, — is something 
they have in common with the Eclectics of 
a later day. They are ill at ease about their art, 
which is no longer the utterly unpremeditated 
outcome of a natural impulse. They saw greater 
painting than their own in Venice and Verona, 
and not unfrequently their own works show an 
uncouth attempt to adopt that greatness, which 
comes out in exaggeration of colour even more 
than of form, and speaks for that want of taste 
which is the indelible stamp of provincial- 
ism. But there were Venetian towns without 
the traditions even of the schools of Vicenza 
and Brescia, where, if you wanted to learn 
painting, you had to apprentice yourself to 
somebody who had been taught by somebody 



62 THE VENETIAN PAINTERS 

who had been a pupil of one of Giovanni 
Bellini's pupils. This was particularly true of 
the towns in that long stretch of plain between 
the Julian Alps and the sea, known as Friuli. 
Friuli produced one painter of remarkable 
talents and great force, Giovanni Antonio 
Pordenone, but neither his talents nor his force, 
nor even later study in Venice, could erase 
from his works that stamp of provincialism 
which he inherited from his first provincial 
master. 

Such artists as these, however, never gained 
great favour in the capital. Those whom 
Venice drew to herself when her own strength 
was waning and when, like Rome in her decline, 
she began to absorb into herself the talent of 
the provinces, were rather painters such as 
Paolo Veronese whose art, although of indepen- 
dent growth, was sufficiently like her own to 
be readily understood, or painters with an 
entirely new vein, such as the Bassani. 

XX. Paul Veronese. — Paolo was the 
product of four or five generations of 
Veronese painters, the fir§t two or three 



J 



PAUL VERONESE 63 

of which had spoken the language of the 
whole mass of the people in a way that few 
other artists had ever done. Consequently, 
in the early Renaissance, there were no painters 
in the North of Italy, and few even in Florence, 
who were not touched by the influence of 
the Veronese. But Paolo's own immediate 
predecessors were no longer able to speak the 
language of the whole mass of the people. 
There was one class they left out entirely, the 
class to whom Titian and Tintoretto appealed 
so strongly, the class that ruled, and that 
thought in the new way. Verona, being a 
dependency of Venice, did no ruling, and cer- 
tainly not at all so much thinking as Venice, 
and life there continued healthful, simple, 
unconscious, untroubled by the approaching 
storm in the world's feelings. But although 
thought and feeling may be slow in invading a 
town, fashion comes there quickly. Spanish 
fashions in dress, and Spanish ceremonial in 
manners reached Verona soon enough, and in 
Paolo Caliari we find all these fashions reflected, 
but health, simplicity, and unconsciousness as 
well. This combination of seemingly opposite 



64 THE VENETIAN PAINTERS 

qualities forms his great charm for us to-day, \ 
and it must have proved as great an attraction 
to many of the Venetians of his own time, for 
they were already far enough removed from 
simplicity to appreciate to the full his singularly 
happy combination of ceremony and splendour/ 
with an almost childlike naturalness of feelings 
Perhaps among his strongest admirers were 
the very men who most appreciated Titian's 
distinction and Tintoretto's poetry. But it is 
curious to note that Paolo's chief employers 
were the monasteries. His cheerfulness, and 
his frank and joyous worldliness, the qualities, 
in short, which we find in his huge pictures of 
feasts, seem to have been particularly welcome 
to those who were expected to make their 
meat and drink of the very opposite qualities. 
This is no small comment on the times, and 
shows how thorough had been the permeation 
of the spirit of the Renaissance when even 
the religious orders gave up their pretence to 
asceticism and piety. 

XXI. Bassano, Genre, and Landscape. — 

Venetian painting would not have been the 



BASSANO, GENRE, AND LANDSCAPE 65 

complete expression of the riper Renaissance 
if it had entirely neglected the country. City 
people have a natural love of the country, but 
when it was a matter of doubt whether a man 
would ever return if he ventured out of the 
town-gates, as was the case in the Middle Ages, 
this love had no chance of showing itself. It. 
had to wait until the country itself was safe 
for wayfarers, a state of things which came 
about in Italy with the gradual submission of 
the country to the rule of the neighbouring 
cities and with the general advance of civilisa- 
tion. During the Renaissance the love of the 
country and its pleasures received an immense 
impulse from Latin authors. What the great 
Romans without exception recommended, an 
Italian was not slow to adopt, particularly when, 
as in this case, it harmonised with natural in- 
clination and with an already common prac- 
tice. It was the usual thing with those who 
could afford to do so to retire to the villa for a 
large part of the year. Classic poets helped 
such Italians to appreciate the simplicity of 
the country and to feel a little of its beauty. 

Many took such delight in country life that 
5 



66 THE VENETIAN PAINTERS 

they wished to have reminders of it in town. 
It may have been in response to some such 
half formulated wish that Palma began to 
paint his " Sante Conversazioni," — groups of 
saintly personages gathered under pleasant 
trees in pretty landscapes. His pupil, Boni- 
fazio,'-continued the same line, gradually, how- 
ever, discarding the traditional group of 
Madonna and saints, and, under such titles as 
" The Rich Man's Feast " or " The Finding of 
Moses," painting all the scenes of fashionable 
country life, music on the terrace of a villa, 
hunting parties, and picnics in the forest. 

Bonifazio's pupil, Ja copo Bassano, no less 
fond of painting country scenes, did not how- 
ever confine himself to representing city people 
in their parks. His pictures were for the in- 
habitants of the small market-town from which 
he takes his name, where inside the gates 
you still see men and women in rustic garb 
crouching over their many-coloured wares ; and 
where, just outside the walls, you may see all 
the ordinary occupations connected with farm- 
ing and grazing. Inspired, although unawares, 
by the new idea of giving perfectly modern 



BASS A NO, GENRE, AND LANDSCAPE 6/ 

versions of biblical stories, Bassano intro- 
duced into nearly every picture he painted 
episodes from the life in the streets of Bassano, 
and in the county just outside the gates. Even 
Orpheus in his hands becomes a farmer's lad 
fiddling to the barnyard fowls. 

Bassano*s pictures and those of his two sons, 
who followed him very closely, found great 
favour in Venice and elsewhere, because they 
were such u nconscious renHg r jpgr«; pf cimpl^ 

country life , a kind of life whose charm seemed 
greater and greater the more fashionable and 
ceremonious private life in the city became. 
But this was far from being their only charm. 
Just as the Church had educated people to }^ 

understand painting as a language, so the love 
of all the pleasant things that painting sug- 
gested led in time to the love of this art as its 
own end, serving no obvious purpose either of 
decoration or suggestion, but eiving pleas ure 
b y the skilful management of light an^^ ghadnw. 

rxr^^ Ky fVi^ frtrJn*^^'^ hpailty of the ColoUrS. 

The third quarter of the sixteenth century thus 
saw the rise of the picture-fancier, and the suc- 
cess of the Bassani was so great because they 



68 THE VENETIAN PAINTERS 

appealed to this class in a special way. In 
Venice there had long been a love of objects 
for their sensuous beauty. At an early date the 
Venetians had perfected an art in which there 
is scarcely any intellectual content whatever, 
and in which colour, jewel-like or opaline, is 
almost everything. Venetian glciss was at the 
same time an outcome of the Venetians* love 
of sensuous beauty and a continual stimulant 
to jt. Pope Paul II., for example, who was a 
Venetian, took such a delight in the colour and 
glow of jewels, that he was always looking at 
them and always handling them. When paint- 
ing, accordingly, had reached the point where 
it was no longer dependent upon the Church, 
nor even expected to be decorative, but when 
it was used purely for pleasure, the day could 
not be far distant when people would expect 
painting to give them the same enjoyment they 
received from jewels and glass. In Bassano*s 
works this taste found full satisfaction. Most 
of his pictures s eem at fjnf n'^ A^nnWr^ then 
a s^ cooling and soothin g, as the best kind of 
stained glass ; while the colouring of details, 
particularly of those under high lights, is jewel- 



i 



BASSANO, GENRE, AND LANDSCAPE 69 

like, as clear and deep and satisfying as rubies 
and emeralds. 

It need scarcely be added after all that has 
been said about Ij^ht anc| ^tmnspherf^ in con- 
nection with Titian and Tintoretto, and their 
handling of real life, that Ba ssano's treatme nt 
o f both was even m^^^ magi-prly If this were 
not so, neither picture-fanciers of his own time, 
nor we nowadays, should care for his works as 
we do. They represent life in far more humble^ 
phases than even the pictures of Tintoretta, 
and, without recompensing effects of light and 
atmosphere, they would not be more enjoyable 
than the cheap work of the smaller Dutch 
masters. It must be added, too, that without 
his j ewel-like rn1nynn.pr^ Bassano would often 
be no more delightful than Teniers. 

Another thing Bassano could not fail to do, 
working as he did in the country, and for 

country people, was to paint J nnH?^?ir'^ He 
had to paint the real country, and h is skill ia 
th e treatment of liyht ap H ;^^;|y|r><:php^p was 
great enough to enable him to do it well. 
Bassano was in fact the fir st modern lancj f^rapf^ \ 
painter. Titian and Tintoretto and Giorgione, 



70 THE VENETIAN PAINTERS 

and even Bellini and Cima before them, had 
painted beautiful landscapes, but they were 
seldom direct studies from nature. They were 
decorative backgrounds, or fine harmonising 
accompaniments to the religious or human ele- 
ments of the picture. They never failed to 
get grand and effective lines — a setting worthy 
of the subject. Bassano did not need such 
setting for his country versions of Bible stories, 
^nd he needed them even less in his studies df 
rural life. For pictures of this kind the coun- 
try itself naturally seemed the best background 
and the best accompaniment possible, — indeed, 
the only kind desirable. Without knowing it, 
therefore, and without intending it, Bassano 
was the first Italian who tried to paint the 
country as it really is, and not arranged to look 
like scenery. 

XXII. The Venetians and Velasquez.— 

Had Bassano's qualities, however, been of 
the kind that appealed only to the collectors 
of his time, he would scarcely rouse the strong 
interest we take in him. We care for him 
chiefly because he has so many of the more 



DECLINE OF VENETIAN ART J I 

I 

essential qualities of great art — t ruth to life, and ( 
s pontaneity . He has another interest still, in 
that he b egan to beat out \\\e. path wTiiVli f^nH^H 
a t last in Velasquez. Indeed, one of the at- 
tractions of the V enetian school of painting is 
that, more than all others, it went to form thatL 



g reat Spanish master. , He b egan as a sort o f 
fo llower of Bassano. but his style was not fixed 
before he had given years of study to Veronese, 
to Tintoretto, and to Titian. U^ ^^ 

XXIII. Decline of Venetian Art.— Bas- 

sano appealed to collectors by mere acci- 
dent. He certainly did not work for them. 
The painters who came after him and after 
Tintoretto no longer worked unconsciously, as 
Veronese did, nor for the whole intelligent 
class, as Titian and Tintoretto had done, but 
for people who prided themselves on • their 
connoisseurship. 

Palma the Younger and Domenico Tintoretto 
began well enough as natural followers of 
Tintoretto, but before long they became aware 
of their inferiority to the masters who had pre- 
ceded them, and, feeling no longer the strength 



72 THE VENETIAN PAINTERS 

to go beyond them, fell back upon painting 
variations of those pictures of Tintoretto and 
Titian which had proved most popular. So 
their works recall the great masters, but only 
to bring out their own weakness. Padovanino, 
Liberi, and Pietro della Vecchia went even 
lower down and shamelessly manufactured pic- 
tures which, in the distant markets for which 
they were intended, passed for works of Titian, 
Veronese, and Giorgione. Nor are these pic- 
tures altogether unenjoyable. There are airs 
by the great composers we so love that we 
enjoy them even when woven into the com- 
positions of some third-rate master. 

XXIV. LonghL—But Venetian painting 
was not destined to die unnoticed. In the 
eighteent h centur y, before the Republic en- 
tirely disappeared, Venice produced three 
or four painters who deserve at the least 
a place with the best painters of that cen- 
tury. The constitution of the Venetian 
State had remained unchanged. Magnificent , 
ceremonies still took place, Venice was still the 
most splendid and the most luxurious city in 



LOI^GHI 73 

the world. If the splendour and luxury were 
hollow, they were not more so than elsewhere 
in Europe. The eighteenth century had the 
strength which comes from great self-confidence 
and profound satisfaction with one's surround- 
ings. It was so self-satisfied that it could not 
dream of striving to be much better than 
it was. Everything was just right; there 
seemed to be no great issues, no problems aris- 
ing that human intelligence untrammelled by 
superstition could not instantly solve. Every- 
body was therefore in holiday mood, and the 
gaiety and frivolity of the century were of 
almost as much account as its politics and cul- 
ture. There was no room for great distinctions. 
Hair-dressers and tailors found as much con- 
sideration as philosophers and statesmen at a 
lady's levee. People were delighted with their 
own occupations, their whole lives ; and what- 
ever people delight in, that they will have 
represented in art. The love for pictures was 
by no means dead in Venice, and Longh i 

pa inted for the pi rfnr^Jnying V^n^tiarm fhpir, 
ow n lives in all t hpir nrHinary Hnmestir aT]d 
fashionable ph;\c;ec;. In the hair-dressing scenes 



74 THE VENETIAN PAINTERS 

we hear the gossip of the periwigged barber ; 
in the dressmaking scenes, the chatter of the 
maid ; in the dancing-school, the pleasant 
music of the violin. There is no tr agic note 
anywhere. Everybody dresses, dances, makes 
bows, takes coffee, as if there were nothing 
else in the world that wanted doing. A tone 
of h igh courtesy , of great refinemen t, coupled 
with an all-pervading cheerfuln^ ss. distinguishes 



Longhi's pictures from the works of Hogarth, 
at once so brutal and so full of presage of 
change. 

XXV. Canaletto and Guardi. — Venice 
herself had not grown less beautiful in her 
decline. Indeed, the building which occu- 
pies the very centre of the picture Venice 
leaves in the mind, the Salute, was not built 
until the seventeenth century. This was the 
picture that the Venetian himself loved to 
have painted for him, and that the stranger 
wanted to carry away. Canale'painted Venice 
with a feeling for space and atmosphere, with 
a mastery over the delicate effects of mist pe- 
culiar to the city, that make his views of the 



TIEPOLO 75 

Salute, the Grand Cdnal, and the Piazzetta still 
seem more like Venice than all the pictures of 
them that have been painted since. Later in 
the century Canale was followed by Guardi, 
who executed smaller views with more of an 
eye for the picturesque, and for what may be 
called instantaneous effects, thus anticipating 
both the Romantic and the Impressionist paint- 
ers of our own century. 

XXVI. Tiepolo.— But delightful as Longhi, 
Canale, and Guardi are, and imbued as they 
are with the spirit of their own century, they 
lack the quality of for ce, without which 
there can be no really impressive style. 
This quality their contemporary Tiegolo 
possessed to the utmost. His energy, his 
feeling for splendour, his mastery oveFTiis 
craft, place him almost on a level witl ] the 
gre at Venetians of the sixteenth centii ry, al- 
though he never allows one to forget what 
he owes to them, particularly to Veronese. 
The grand scenes he paints differ from those 
of his predecessor not so much in mere inferi- 
ority of workmanship, as in a lack of that sim- 



*j(> THE VENETJAS' PAINTERS 

plicity and candour which never failed Paolo, 
no matter how proud the event he might be 
portraying. Tiep olo's people are haug-ht y. as 
if they felt that to keep a firm hold on their 
dignity they could not for a moment relax 
their faces and figures from a monumental look 
and bearing. They evidently feel themselves so 
superior that they are not pleasant to live with, 
although they carry themselves so well, and are 
dressed with such splendour, that once in a 
while it is a great pleasure to look at them. It 
was Tiepolo's vision of the world that was at 
fault, and his vision of the world was at fault 
only because the world itself was at fault. 
Paolo saw a world touched only by the fashions 
of the Spanish Court, while Tiepolo lived 
among people whose very hearts had been 
vitiated by its measureless haughtiness. 

But Tiepolo's feeling for strength, for move- 
ment, and for colour was great enough to 
give a new impulse to art. At times he seems 
not so much the last of the old masters as 
the first of the new. The works he left in 
Spain do more than a little to explain the re- 
vival of painting in that country under Goya ; 



^:* 



INFLUENCE OF VENETIAN ART J J 

and Goya, in his turn, had a great influence 
upon many of the best French artists of our 
own times. 

XXVII. Influence of Venetian Art — 

Thus, Venetian painting before it wholly 
died, flickered up again strong enough to light 
the torch that is burning so steadily now. 
Indeed, not the least attraction of the Venetian 
masters is their note of modernity, by which I 
mean the feeling they give us that they were 
on the high road to the art of to-day. We 
have seen how on t^ yo separate nrraQinr^s ypne- 
tian^painters gHv e an impu lse to. Spaniards, 
who in turn have had an extraordinary influ- 
ence on modern painting. It would be easy, 
too, although it is not my purpose, to show 
how much other schools of the seventeenth 
and eighteenth centuries, such as the Flemish, 
led by Rubens, and the English led by Rey- 
nolds, owed to the Venetians. My endeavour 
has been to explain some of the attractions of 
the school, and particularly to show its close 
dependence upon the thought and feeling of 
the Renaissance. This is perhaps its greatest 



78 THE VENETIAN PAINTERS 

interest, for being such a complete expression 
of the riper spirit of the Renaissance, it helps 
us to a larger understanding of a period which 
has in itself the fascination of youth, and which 
is particularly attractive to us, because the 
spirit that animates us is singularly like the 
better spirit of that epoch. We, too, are pos- 
sessed of boundless curiosity. We, too, have 
an almost intoxicating sense of human capacity. 
We, too, believe in a g^reat future for humanity, 
and nothing has yet happened to check our 
delight in discovery or our faith in life. 



INDEX TO THE WORKS OF THE PRIN- 
CIPAL VENETIAN PAINTERS. 



NOTE. 

Public galleries are mentioned first, then private collections, 
and churches last. The principal public gallery is always 
understood after the simple mention of a city or town. Thus, 
Paris means Paris, Louvre, London means London, National 
Gallery, etc. 

An interrogation point after the number or title of a picture 
indicates that its attribution to the given painter is doubtful. 

Distinctly early or late works are marked £. or L. 

It need scarcely be said that the attributions here given are 
not based on official catalogues, and are often at variance 
with them. 

ANTONELLO DA MESSINA. 

B. Circa 1444 : d. circa 1493. Began under unknown 
Flemish painter ; influenced by the Vivarini and 
Bellini. 

Antwerp. 4. Crucifixion, 1475. 
Bergamo. Lochis, 222. St. Sebastian. 
Berlin. 18. Portrait of Young Man, 1478. 

18^. Portrait of Young Man, 1474. 

25. Portrait of Young Man in Red Coat. 
Dresden. $2. St. Sebastian. 

79 



8o 



WORKS OF 



London. 



Messina. 
Milan. 



Naples. 

Paris. 

Richmond. 

Rome. 

Venice. 

Vicenza. 



673. The Saviour, 1465. 1141. Portrait of 
Man. 1 166. Crucifixion, 1477. St. Jerome in 
his Study. 

Madonna with SS. Gregory and Benedict, 1473. 
MusEX) Civico, 95. Portrait of Man wearing 

Wreath. 
Prince Trivulzio, Portrait of Man, 1476. 
Saia Grande, 16. Portrait of Man. 
1 134. Condottiere, 1474. -X* 
Sir F. Cook, Ecce Homo. 
Villa Borghese, 396. Portrait of Man. 
Academy, Sala XIV, 3. Ecce Homo. 
GiovANELU, Portrait of Man. 
Sala IV, 17. Christ at Column. 



JACOPO DI BARBARI. 

1450 circa — 15 16 drca. Pupil of Alvise Vivarini ; influenced 
by Antonello da Messina. 

Attg^burg. Still Life Piece, 1504. 

Bergamo. Gallery Lochis, 147, 148. Heads of Young 

Men. 

Frizzoni-Salis, Head of Christ. 

26^. Madonna and Saints. 

57. Christ Blessing. 

58, 59. SS. Catherine and Barbara. 
294. Galatea. L. 
PiTTi, 384. St. Sebastian. 
Mr. Doetsch, Portrait of Young Man. L. 
S. N1CCOL6, Frescoes around Tomb of Onigo. 
18 Piazza del Duomo, Frescoes on Fa9ade. 
Lady Layard, A Falcon. 
Frari, 2d Chapel L. of Choir, Decorative 

Frescoes. 
203. Portrait of Young Man. 
Head of Christ. 



Beriin. 
Dresden. 



Florence. 

London. 

Treviso. 

Venice. 



Vienna. 
Weimar. 



THE VEl^ETIAN PAINTERS 



8l 



V. 



BARTOLOMMEO VENETO. 

Active 1505-1555. Pupil of Gentile Bellini ; influenced by 
Bergamask and Milanese painters. 

Beiluno. 22. Madonna. 
Bergamo. Carrara, 185. Landscape. E. 
\r LocHis, 127. Madonna, 1505. 

Count Roncalli, Resurrection. 

324. Portrait of Young Man. 

292. Salome. 

Uffizi, 650. Portrait of a Man, 1555. 

ToRRiGiANi, Portraits of Man and Boy. (?) L. 

13. Portrait of a Courtesan. 
1/ 20. St. Catherine. 

Prince Giorgio Doria, Portrait of a Lady. 

287. Portrait of Ludovico Martineugo, 1530. 

Mr. Benson, Madonna and Angels. £. 

Capt. Holford, Portrait of Man. 

Ambrosiana, 24. Madonna. Portrait of Man 
in Black. 

Borromeo, St. Catherine. 

Portrait of Young Man. 

1673. Portrait of Lady. 

ToRLONiA, 69. Portrait of Young Man. 

Palazzo Ducale, Chapel, Madonna. 



Douai. 
V Dresden. 
Florence. 

Frankfort. 



Genoa. 
London. 



Milan. 



Nancy. 
Paris. 
Rome. 
Venice. 



MARCO BASAITL 

Circa 1470-1527. Pupil of Alvise Vivarini ; follower of Bellini. 

Bergamo. Carrara, 165. The Saviour, 15 17. 
Lochis, 188. Portrait of Man. 
MORELLI, Portrait of Man, 1521. 
Frizzoni-Salis, Madonna with SS. Monica 

and Francis. 
PicciNELLi, St. Jerome in Desert. 
Berlin. 6. Piet^. 20. Altar-piece. 37. St. Sebastian. 

40. Madonna. E. 



82 WORKS OF 

London. 281. St. Jerome. 599. Madonna. 

Mr. Benson, St. Jerome beside a Pool, 1505. 

Portrait of Man. Madonna and Saints. 
Mr. Salting, Madonna. £. 
Milan. Ambrosiana, 30. Resurrected Christ. 

Munich. 1031. Madonna, Saints, and Donor. £. 
Murano. S. Pietro, Assumption of Virgin. 
Padua. Sala Emo, 225. Portrait of Man, 1521. Ma- 

donna with SS. Liberaie and Peter. 
Rome. DoRiA, St. Sebastian. 

Strasburgf. St. Jerome. 

Venice. Academy, Sala I, 8. St. James, zi. St. An- 
tony Abbot 13. Dead Christ. 
Sala VII, 24. Christ in the Garden, 15 10. 
Sala XIV, 18. St. Jerome. 
Sala XV, 11. Calling of Children of Zebedee, 
1 5 10. 
MusEO CoRRER, Sala IX, 24. Madonna and 

Donor. 34. Christ and Angels. 
Giovanelli, St. Jerome in Desert. 
S. PiETRO IN Castello, St. George and 
Dragon, 1520. St. Peter enthroned and 
four other Saints. 
Salute, St. Sebastian. 
Verona. 115. St. Sebastian. 
Vienna. 30. Calling of Children of Zebedee, 1515. 

JACOPO BASSANO. 

1 5 10-1592. Pupil of Bonifazio Veronese. 

Augsburg. 272. Madonna with SS. John and Roch. 
Bassano. i. Susanna and Elders. £. 

2. Christ and Adulteress. £. 

3. The Three Holy Children. E. 

4. Madonna, SS. Lucy and Francis, and Donor. 

E. 



THE VENETIAN PAINTERS 83 

Bassano {Con.\ 5. Flight into Egypt. £. 

6. St. John the Baptist. 

7. Paradise. 

8. Baptism of St. Lucilla. 

9. Adoration of Shepherds. 

10. St. Martin and the Beggar. 

11. St. Roch recommending Donor to Virgin. 

12. St. John the Evangelist adored by a Warrior. 

13. Descent of Holy Spirit. 

14. Madonnain Glory, SS. Lucy and Agatha. L. 
DUOMO, St. Lucy in Glory, and Mart3rrdom of 

Stephen. L. Nativity. 

S. Giovanni, Madonna in Glory, SS. Giustina, 
Barbara, and Mark. 
Bergamo. Carrara, 109. Male Portrait. 

LoCHis, 54. Portrait of Lawyer. 82. Portrait 
of a Painter. 

Frizzoni-Salis, Madonna. Portrait of Old 
Man. 

Casa Suardi, St. Jerome in Desert. 
Bologna. Corridor IV, Two Male Busts. 
Cittadeiia. Duomo, Christ at Emaus. £. 
Dresden. 253. Israelites in Desert. 256. Moses striking 

Rock. 

258. Conversion of Paul. 
Feltre. Vescovado, Portrait of Old Man. 

Florence. Uffizi, 610. Two Hunting Dogs. 
Hampton Court. 94. Head of Old Man. 

136. Male Portrait. 

142. Jacob's Journey. 

153. Boaz and Ruth. 

163. Shepherds' Offering. E. 

169. Christ in the House of the Pharisee. 

176. Assumption of Virgin. 

210. Men fighting Bears. 

223. Tribute Money, 



84 

London. 



Milan. 
Mnnich. 



Padua. 

Paris. 

Rome. 

Venice. 



Verona. 
Vicenza. 



Vienna. 



WORKS OF 

173. Portrait of Man. 228. Christ and the 
Money Changers. 277. The Good Samari- 
tan. 

Mr. Benson, St. John in the Wilderness. 

Mr. Doetsch, Portrait of Man aged 27, 1558. 
Portrait of a Lady. Susanna and the El- 
ders. 

Ambrosiana, 226. Annunciation to Shepherds. 
L. 230. Adoration of Shepherds. £. 

1128. Old Man, Son and Grandson. 1148. St. 
Jerome in Desert. 11 50. Deposition from 
Cross. 

1 1 51. Madonna enthroned and two Saints. 

LoTZBECK Collection. 10 i. Portrait of Lady. 

S. Marla in Vanzo. Entombment. 

1426. Christ bearing Cross. 1428. Vintage. L. 

Villa Borghese, 144. Last Supper. 127. The 
Trinity. 

Academy, Sala II, 36. Christ in Garden. 
Sala VII, 9. Portrait of a Venetian Noble. 
19. St. Eleuterius blessing the Faithful. 

Palazzo Ducale, Anti-Collegio. Jacob's Jour- 
ney. 

Palazzo Reale, St. Jerome, 1569. 

S. GiACOMO DALL* Orio, Madonna in Glory 
and two Saints. 

214. Portrait of a Senator. 

Sala V, Madonna and Saints. E. 

Entrance Hall, 2. Madonna, St. Mark, and 
two Senators. 

34. The Good Samaritan. 

35. Thamar led to the Stake. 

36. Adoration of Magi. 

38. Rich Man and Lazarus. 

39. The Lord shows Abraham the Promised Land. 

40. The Spwer, 



TtfE Venetian PAiNtEks 85 

Vienna (Con,). 41. A Hunt. 

43. Way to Golgotha. 

44. Noah entering the Ark. 

45. Christ and the Money Changers. 

46. After the Flood. 

47. SS. Sebastian, Florian, and Roch. 

48. Adoration of Magi. 
467. Portrait of Procurator. 
487. Portrait of Senator. 
542. Christ bearing Cross. 

Academy, 20. Deposition. 21. Portrait of Pro- 
curator. 

Wobum Abbey. 16. Portrait of Venetian Senator. 

GENTILE BELLINI. 

1426 (?)-i507. Pupil of his father, Jacopo Bellini ; in- 
fluenced by the Paduans. 

Buda-Pesth. Portrait of Catherine Comaro. 
London. 808. St. Peter Martyr. 

1213. Portrait of Mathematician. 
South Kensington, Furniture Depart- 
ment, Head of St. Dominic. 
Mr. Ludwig Mond, Madonna Enthroned. E. 
Milan. Brera, 168. Preaching of St. Mark. L. Fin- 

ished by Giovanni Bellini. 
Paris. 59. Two Heads. (?) L. 

Rome* Vatican, Portrait of Doge. (?) L. 

Venice. Academy, Corridor, 13. Beato Lorenzo Giu- 

stiniani, 1465. 
Sala VIII, 5. Miracle of True Cross, 1500. 

29. Corpus Christi Procession, 1496. 
Sala XV, 7. Healing accomplished by Frag- 
ment of True Cross. L. 
San Marco Fabriceria, Organ Shutters, 
SS. Theodore and Mark, SS. Jerome and 
Francis. E. 



86 



IVOR at s 6P 



Venice (Con,\ Sir Henry Layard, Adoration of Magi, 

Portrait of Sultan Mohamet, 1480. 



GIOVANNI BELLINI. 

1428-15 16. Pupil of his father, Jacopo ; formed in Padua 
under the influence of Donatello. 



Berg^amo. 

Berlin. 

Florence. 

London. 



Milan. 



Murano. 

Naples. 
Pesaro. 

Rimini. 

Turin. 

Venice. 



LocHis, 210. Madonna. £. 

MoRELLi, 27. Madonna. 41. Madonna. 

4. Pieti. L. 28. Dead Christ. 
Uffizi, 631. Allegory of Tree of Life. L. 
189. Portrait of Loredano. L. - 280. Madonna. 

• L. 726. Agony in Garden. E. 1233. 

Blood of Redeemer. £. 
Mr. Ludwig Mond, Dead Christ. Madonna. 
Dr. Richter, Madonna. £. 
BrerA, 284. Pietil. £. 261. Madonna. 297. 

Madonna, 15 10. 
Dr. Gust. Frizzoni, Madonna. £. 

5. PiETRO, Madonna with SS. Mark and Augus- 

tin and Doge Barbarigo, 1488. 
Sala Grande, 7. Transfiguration. 
II. Crucifixion. (?). E. 52. God the Father. 
S. Francesco, Altar-piece in many parts. 
Dead Christ. E. 
779. Madonna. E. 

Academy, Sala II, 17. Madonna. 24. Ma- 
donna. 
Sala III, 47, 48, 49, 50, 51. Small Allegories. 

L. 
Sale Palladiane, 33. Madonna with St. 
Catherine and Magdalen. 44. Madonna 
with SS. Paul and George. 
Sala XIV, 19. Madonna. 
Sala XV, 10. Madonna with five Saints. 



THE VENkTlAM PAlMTEk^ 87 

Venice (Con.) Museo Correr, Sala VII, 23. Transfigura- 
tion. £. 
Sala IX, 27. Dead Christ. £. 46. Crucifix- 
ion. £. 54. Dead Christ supported by 
three Angels. £. 
Palazzo Ducale, Sala di Tr^, Pieti. £. 
Frari, Triptych, Madonna and Saints, 1488. 
S. Francesco della Vigna, Madonna and four 

Saints, 1507. 
S. Giovanni Crisostomo, SS. Jerome, Augus- 
tine, and Christopher, 15 13. 
S. Maria dell' Orto, Madonna. £. 
S. Zaccaria, Madonna and four Saints, 1505. 
Verona. 77. Madonna. £. 
Vicenza. S. Corona, Baptism, 15 10. 

JACOPO BELLINI. 

Active 1430-1466. Pupil of the Umbrian painter, Gentile 
da Fabriano, and of the Veronese, Pisanello. 

Brescia. S. Alessandro. Annunciation, with five Pre- 

delle. 

London. British Museum, Sketch-Book. £. 

Lovere. Tadini, Madonna. 

Padua. Sala IV, Christ in Limbo. (?) 

Paris. Sketch-Book. L. 

Venice. • Academy, Corridor, 18. Madonna. 

Museo Correr, Sala IX, 42. Crucifixion. (?) 
• S. Trovaso, S. Giovanni Crisogono on Horse- 
back. (?) 

Verona. 365. Christ on Cross. 

BISSOLO. 
1464-1528. Pupil and assistant of Giovanni Bellini. 
Berlin. 43. Altar-piece. 



88 



WORUrS OF 



BresciA. 

GenoA. 

Hampton 
Court. 

London. 

Milan. 

Rome. 
Trcviso. 

Venice. 



Vienna. 



Tosio, Sala XIV, 3. Madonna and Saints. E. 
Annunziata, Madonna and four Saints. 

117. Portrait of Man. E. 

Mr. Benson, Annunciation. Madonna. 

Mr. Mond, Madonna and Saints. 

Brera, 237. St. Stephen. 285. St. Antony of 
Padua. 298. A Bishop. 

Villa Borghese, 176. Madonna. E. 

DuoMO, Three Saints and Donor. 

S. Andrea, Madonna and two Saints. 

Academy, Sala II, 40. Dead Christ. 

Sale Palladiane, 32. Presentation in Temple. 

Sala VIII. Christ crowning S. Catherine. 

Sala XIV, 28. Madonna with SS. James and 
Job. 

Museo Correr, Sala IX, 57. Madonna with 
St. Peter Martyr. 

S. Giovanni in Bragora, Triptych. 

S. Maria Mater Domini, Transfiguration. 

Redentore, Madonna with SS. John and Cath- 
erine. 

Sir H. Layard, Madonna with SS. Michael 
and Ursula and female Donor. 

60. Lady at Toilet, 15 15. 

Sala II, 80. Baptism. 



BONIFAZIO VERONESE. 

Active circa 1 510-1540. Pupil of Palma Vecchio ; influenced 
by Giorgione. 

Bergamo. Carrara, 197, 198. Small mytholc^ical Scenes. 

Frizzoni-Salis, Parable of Sower. 
Campo S. Piero. Oratory of S. Antonio, Preaching 

of St. Antony (in part). 
Dresden. 208. Finding of Moses, 



TttE VntfETtAft PAtNtEkS 



89 



Florence. 



Hag^e. 
Hampton 
Lille. 
London. 



Milan. 



Modena. 

Paris. 
Rome. 



Venice. 



PiTTi, 84. Madonna, St. Elizabeth, and Donor. 

E. 
89. Rest in Flight. 
161. Finding of Moses. 
405. Christ among the Doctors (in part). 
252. Bust of Woman. 
Court. 146. Santa Conversazione. 
717. Esther before Ahasuerus. 
1202. Santa Conversazione. E. 
Mr. Benson, Allegories of Morning, and of 

Night (in part). 
Mr. Butler, Santa Conversazione. Rape of 

Helen. Subject from a Romance. 
Dr. Richter, Santa Conversazione. E. Joseph 

drawn out of the Well. Head of Pompey 

brought to Caesar. 
Brera, 209. Finding of Moses. 
Ambrosiana, 231. Holy Family with Tobias 

and Angel. E. 
Poldi-Pezzoli, Pinacoteca, 99. Doctor Visit- 
ing a Patient. 
138. Justice and Temperance (in part). 
142. Truth and Force (in part). 
1171. Santa Conversazione. 
Villa Borghese, 156. Mother of Zebedee's 

Children. 186. Return of the Prodigal Son. 
Chigi, Finding of Moses. 
Colonna, Holy Family with SS. Jerome and 

Lucy. 
Academy, Sala VII, 35. Rich Man's Feast. 

59. Massacre of Innocents. 
Sala IX, 6. Judgment of Solomon, 1533 (in 

part). 
Palazzo Reale, Madonna with SS. Catherine 

and John the Almsgiver, 1533. 
Giovanelli, Santa Conversazione, 



$6 



tvdklts oP 



Venice (Cmi.). Sik H. Layard, Twelve Tcry small pic- 
tures : Rustic Occupations. 
Vienna. 68. Santa Conversazione. 

72. Triumph of Love. 73. Triumph of Chastity. 

547. Salome. 

FRANCESCO BONSIGNORI. 

I453(?)-I5I9. Pupil of Bartolommeo and Alvise Vivarini ; 
influenced by Giovanni Bellini, and later by Mantegna 
and his own townsman, Liberale of Verona. 



Bergamo. 

Berlin. 

Florence. 

London. 

Mantna. 
Milan. 



Venice. 



Verona. 



LocHis, 154. Portrait of a Gonzaga. 

MoRELLi, 45, The Widow's Son. L. 

46^. St. Sebastian. 

BAX.GELLO, Christ bearing Cross. L. 

736. Portrait of Man, 1487. 

Mr. Alfred Morrison, Portrait of Man. 

AccADEMiA ViRGiLiANA, Way to Golgotha. 
Vision of the Nun Osanna. 

Brera, 163. St. Bernardino. 170. SS. Bernar- 
dino and Louis holding the Initials of 
Christ. 

Poldi-Pezzoli, Head of a Female Saint. St. 
Bernardino. Profile of Old Man. Bust of 
Venetian Noble. 

Palazzo Ducale, Directors' Room, Ma- 
donna. £. 

S. Giovanni e Paolo, 2d Altar R. Altar-piece 
in 9 parts. E. 

148. Madonna, 1483. 271. Madonna enthroned 
with four Saints, 1484. 

S. Bernardino, Madonna enthroned with SS. 
Jerome and George, 1488. 

S. Nazzaro £ Celso, Madonna and Saints, fin- 
ished by Girolamo dai Libri. 

S. Paolo, Madonna with St. Antony Abbot 
and the Magdalen. E. 



fitM VktiET'lAN PAtNtEk^. 



9t 



Berlin. 



Cologne. 
Dresden. 



Florence. 



GenoA. 



PARIS BORDONE. 

1495-1570. Pupil and follower of Titian; influenced later 
by Michelangelo. 

Bergamo. Lochis, 41, 42. Vintage Scenes. 
156. Portrait of Man in Black. 
169. Chess Players. 
191. Madonna and four Saints. 
Bathsheba. 

203 Apollo and Marsyas. 

204 Diana as Huntress. 
205. Holy Family and St. Jerome. 
PiTTi, 109. Portrait of Woman. 
Uffizi, 607. Portrait of Young Man. 
Brignole-Sale, Sala V. Portrait of Man. 
Sala VIII. Santa Conversazione. Portrait of 

Man. 
Hampton Court. 118. Madonna with male and female 

Donors. 

637. Daphnis and Chloe. 

674. Portrait of Lady. 

Bridgewater House, Holy Family. 

Lady Eastlake, Male Portrait. 

Dr. Richter, Christ among the Doctors. 

Tadini, Madonna with SS. George and Chris- 
topher. 

Brera, 212. Baptism. 216. Descent of Holy 
Spirit. 

241. S. Dominic presented to Saviour by Virgin. 

242. Madonna and Saints. 
306 bis. Three Heads. 
Archbishop's Palace, St. Ambrose presenting 

a General to Virgin. 
S. Maria presso Celso, Madonna and St. 
Jerome. 

1 1 20. Portrait of Man, 1523. 

1121. Man Counting Jewels. 



London. 



Lovere. 



Milan. 



Munich. 



02 



Wokics OP 



Padua. 

Paris. 

Richmond. 
Rome. 



Siena. 

Strasburg. 

Treviso. 



Venice. 



Vienna. 



Sala Emo, 93. Christ taking leave of his 

Mother. 
1 1 78. Portrait of Man. 1 179. Portrait of Man, 

1540. 
Sir F. Cooke, Hunting Piece. 
Villa Borghese, 119. Jupiter and Antiope. 
COLONNA, H0I7 Family, SS. Sebastian, and 

Jerome. 
DORIA, Venus and Mars. 
447. Annunciation. 
Madonna and St. Jerome. 

4. Madonna with SS. Jerome and John the 

Baptist. 
DuoMO, Adoration of Shepherds. Madonna 

with SS. Sebastian and Jerome. Gospel 

Scenes (on a small picture). 
Academy, Sala VII, 27. Fisherman and Dc^e. 

E. 61. Paradise. 
Sala XVI, Storm calmed by S. Mark, finished 

by Bordone, probably begun by Giorgione. 
Palazzo Ducale, Chapel, Dead Christ. 
GiovANELLi, Madonna and Saints. 
Sir H. Layard, Christ baptising a Youth in 

Prison. 

5. Giovanni in Bragora, Last Supper. 

S. GiOBBE, S. Andrew and two other Saints. 

87. Allegory. 

88. Allegory. 

89. Lady at Toilet. 

90. Young Woman. 

CzOrnin, Venetian adoring Cross. 
LiCHTENSTElN, St. Sebastian. 



THE VENETIAN PAINTERS 93 

ANTONIO CANALE, called CANALETTO. 

1697-1768. 

Dresden. 581. The Grand Canal. 

582. S. Giovanni e Paolo. 

583. Campo S. Giacomo di Rialto. 

584. Piazza di S. Marco. 
Florence. Uffizi» 1064. The Piazzetta. 

Hampton Court. The Colosseum, 1753. 
London. 127. Scuola della Cariti. 

Dorchester House, View of Piazzetta from 
Lagoon. 

Mr. Mond, Two Views of the Piazza. 

Dr. Richter, The Dogana. 
Milan. Casa Sormani, The Bucentaur. Reception of 

an Ambassador. 
Paris. 1203. The Salute. 

Vienna. Lichtenstein, Two Views of Venice. 
Windsor Castle. Series of Large Views of the Piazza. 
Vrobum Abbey. Twenty-four Views of Venice. 

GIOVANNI BUSI, called CARIANI. 

Circa 1480-1544. Pupil of Giovanni Bellini and Palma ; 
influenced by Giorgione and Carpaccio. 

Bergamo. Carrara, 67. Madonna with SS. Helen, Con- 

stantine, and other Saints. L. 
85. Portrait of Lady. 135. Bust of Man. 
LOCHIS, 2. Portrait of Lady. 
85. Christ on Cross, bust of Donor, 15 18. 
146. Woman playing, and Shepherd asleep. 
150. St. Antony of Padua. E. 
153. Portrait of Monk. 
165. Portrait of Man. 
172. Christ bearing Cross. E. 
184. Portrait of Bened. Caravaggio. 
192. St. Stephen, 



94 



WORKS OF 



Bei^mo {Can,), Lochis, 196. St. Catherine. 

MoRELLi, Madonna. L. Portrait of Man. 
DuoMO, Back of High Altar, Madonna. £. 
Baglioni, Madonna and Donor, 1520. 
Frizzoni-Salis, Madonna and Saints. L. 
PicciNELLi, Flight into Egypt. L. 
RONCALLi, Family Group, 15 19. 
SuARDi, St. Jerome. Portrait of Senator. 
Berlin. 185. Girl in Landscape. 188. Portrait of Man. 

Hampton Court. 135. Adoration of Shepherds. L. 

Venus. L. 
London. 41. Death of St. Peter Martyr. L. 1203. Ma- 
donna and Saints. L. 
South Kensington, Venus and Mars (lent). 
Mr. Benson, Madonna and Donors. Portrait 

of Man wearing Sword. 
Mr. Doetsch, Nativity. 
Sir William Farrer, Portrait of Man. 
Mr. Salting, Portrait of Senator. 
BAilan. Brera, 210. Madonna and Saints. L. 291. 

Madonna. L. 
MusEO Civico, 106. Lot and his Daughters. 
Collection dell' Acqua. Portrait of a 
Lady. 
Ambrosiana, Way to Golgotha. 
Bonomi-Cereda, Portrait of Man. Magdalen. 
Munich. 1 107. Portrait of Man. 

LoTZBECK Collection, 100. Portrait of Man. 
Paris. 1135* Madonna, Saints, and Donor. E. 

1159. Holy Family with SS. Sebastiaq and 
Catherine. 
Rome. Villa Borghese, 30. Sleeping Venus. 164. 

Madonna and St. Peter. 
TORLONIA, 24. Santa Conversazione. 
St. Petersburg;. 116. Young Woman and Old Man. 
Strasburg. 69. Young Man playing Guitar. Portrait of 

old Venetian. 



THE VENETIAN PAINTERS 



95 



Vicenza. 
Vienna. 



Stuttgart. 36. Portrait of a Lady. 

Venice. Academy, Sala II, 94. Portrait of Man. no. 

Holy Family. 
Sale Palladiane, 35. Portrait of Man. 
Sala XIV, 22. Bust of Old Woman. 
Sala II, 41. Madonna and Saints. 
162. St. Sebastian. 163. Christ bearing Cross. 240. 

The ** Bravo." 319. St. John Evangelist. 
Academy, 77. Madonna with SS. John and 
Catherine. 
Zogno. Church, Adoration of Shepherds. 

VITTORE CARPACCIO. 

Active 1478-1522. Pupil and follower of Gentile Bellini. 

Berlin. 14. Madonna with SS. Catherine and Jerome. E. 

23. Consecration of Stephen, 15 11. 
Sala VIII, lo. Death of the Virgin, 1508. 
Uffizi, 583 bis. Fragment, Finding of True 

Cross. 
750. Madonna with SS. John and Christopher, 

and Doge Giovanni Mocenigo, 1478. 
Mr. Benson, Female Saint reading. 
Brera, 288. Stephen disputing, 15 14. 307. 

Presentation of Virgin. L. 309. Marriage 

of Virgin. L. 
1 21 1. Stephen preaching. L. 
Stuttgart. 13. Glory of St. Thomas, 1507. 

122. Martyrdom of Stephen, 15 15. 

Academy, Sala VII, 54. Martyrdom of the 

10,000 Virgins, 1 51 5. 
Sala VIII, 2. Healing of Madman in view of 

Rialto, 1494. 10, II, 14, 16, 1495 ; 18, 

1490; 20, 23, 27, 1493; 32, 1491. 

Story of St. Ursula. 34. Meeting of Joachim 

and Anne, 15 15. 
Sala XV, 8. Presentation of Infant Christ, 

15 10, 



Ferrara. 
Florence. 

London. 



Milan. 



Paris. 



Venice. 



96 WORKS OF 

Venice (Om,\ Musko Correr, Sala IX, 14. Visiution. L. 

Sala X, 8. Two Courtesans. 

Palazzo Ducale, Sala di Tr^, Lion of S. 
Marco, 15 16. 

S. Giorgio degli Schiavoni, ten pictures along 
walls of Oratory on ground floor, and 
Madonna over altar. St. George slaying 
Dragon ; St. George bringing Dragon cap- 
tive ; St. George baptising the Princess and 
her Father, MDV . . .; Story of St. Trypho- 
nius ; Agony in Garden ; Christ in House of 
Pharisee, 1502 ; St. Jerome bringing his 
Lion to Monastery ; Burial of St. Jerome, 
1502 ; St. Jerome in his Study. 

S. Vitale, St. Vitale between SS. George and 
Valeria, 15 14. 

Sir Henry Layard, Augustus and Sibyl. L. 
Death and Assumption of Virgin. L. St 
Ursula taking leave of her Father. 
Vienna. 128. Christ adored by Angels, 1496. 

VINCENZO CATENA. 

Active 1495-1531. Pupil of the Bellini; influenced byCar- 
paccio and Giorgione. 

Bergamo. Carrara, II, Christ at Emaus. 

Berlin. 32. Portrait of Fugger. L. 19. Madonna, 

Saints, and Donor. E. 
Buda-Pesth. Madonna and Saints. E. 
Dresden. 65. Holy Family. L. 
London. 234. Warrior adoring Infant Christ L. 

694. St. Jerome in his Study. L. 

1 160. Adoration of Magi. L. 

Mr. Benson, Holy Family. L. 

Mr. Beaumont, Nativity. (?) 

Lord Brownlow, Nativity. 

MRf Hezeltine^ Madonnat 



THE VENETIAN PAINTBRS 



97 



London {Con,). Mr. Mond, Madonna, Saints and Donors. E. 
Dr. Richter, Christ giving Keys to Peter in 
presence of three female Saints. 
Padua. Sala Emo, 29. Circumcision. E. 

Paris. 1157* Reception of Venetian Ambassadors at 

Cairo. 
Venice. Palazzo Ducale, Sala di Tr£, Madonna, 

two Saints, and Doge Loredan. £. 
Quirini-Stampalia, Sala III, i. Judith. L. 
GiovANELLi, Madonna with John the Baptist 

and female Saint. E. 
S. Maria Mater Domini, St. Christina. 
S. Simeon Profeta, The Trinity. E. 
S. Trovaso, Madonna. E. 
Vienna. 151. Portrait of a Canon. 



GIOVANNI BATTISTA CIMA. 

1460-15 1 7 circa. Pupil of Alvise Vivarini, influenced by 
Giovanni Bellini. 



^ Bergamo. 
i, Beriin. 

\y Bolog^na. 



MORELLI, 57. Madonna. 

2. Madonna enthroned with four Saints. 

7. Madonna and Donor. 

15. Healing of Anianus. 

17. Madonna. 

61. Madonna. 



-} Conegliano. Duomo, Madonna and Saints, 1493. 



7 



Dresden. 61. The Saviour. 63. Presentation of Virgin. 
1 London. 300. Madonna. 634. Madonna. 816. Incre- 
^i M f\ dulity of Thomas, 1504. 11 30. St. Jerome. 

\ / Mr. Ludwig Mond, Two Saints. 
Milan. ^ Lj Brera, 191. SS. Peter Martyr, Augustine, and 

Nicholas of Ban. 
/^ 286. SS. Jerome, Nicholas of Tolentino, Ursula 

and another female Saint. 
il 289. SS. Luke, Mary, John the Baptist and 
Mark. 



98 



WORKS OF 



Milan {Con.), Brera, 293. Madonna. 

300. St. Peter between John the Baptist and 
St. Paul, 1516. 

302. St. Jerome. 

303. St. Giustina and two other Saints. 
Poldi-Pezzou, Head of Female Saint. 

Modena. 143. Pieti. 

Munich. 1033. Madonna with Mary Magdalen and St 

Jerome. E. 
Parma* 360. Madonna with SS. Cosmas and Damian. 

361. Madonna with SS. Michael and Augustine. 
370. Endymion. 
373. Apollo and Marsyas. 
Paris. i25g. Madonna with John and Magdalen. 

Richmond. Sir F. Cook, Madonna. 
Venice* Academy, Sala II, 48. Madonna with SS. 

John and Paul. 
Sale Palladiane, 39. Piet4. 47. Madonna. 

65. Christ, Thomas, and Magnus. 
Sala IX, 21. Madonna with six Saints. 
Sala XIV. Tobias and Angel, SS. James and 
Nicholas. 
Carmine, Adoration of Shepherds. 
S. Giovanni in Bragora, Baptism, 1494. 
SS. Helen and Constantine. 
Three Predelle with Story of Finding of True 
Cross. 
S. Giovanni e Paolo, Coronation of the Vurgin. 
S. Maria dell' Orto, St. John between SS. 

Paul, Jerome, Mark, and Peter. 
Lady La yard. Madonna with SS. Francis and 
Paul. Madonna with SS. Nicholas of Ban 
and John the Baptist. 
Vicenza. Sala IV, 18. Madonna with SS. Jerome and 

John, 1489. 
Vienna. 156. Madonna with SS. Jerome and Louis. 



THE VENETIAN PAINTERS 99 

CARLO CRIVELLI. 

B. 1430-40 ; d. after 1493. Pupil of the first Vivarini, in- 
fluenced by tlie Paduans. 

Ancona. i. Madonna. £. 

Ascoli. DuoMO, Altar-piece, with Pieti, 1473. 

Bergamo. Lochis, 129. Madonna. 

Berlin. 11 56. The Magdalen. 

1156^ . Madonna, St. Peter and six other Saints. 
Brussels. Madonna. 
Buda-Pesth. Madonna. 
Florence. Panciatichi, ioi. Pietii, 1485. 
Frankfort. 33, 34. Annunciation. 
London. 602. Piet4. 

668. The Blessed Ferretti in Ecstasy. 

724. Madonna with SS. Sebastian and Jerome. 

739. Annunciation, i486. 
, 788. Altar-piece in thirteen compartments, 1476. 

809. Madonna with SS. Sebastian and Francis, 
1491. 

906. Madonna in Ecstasy, 1492. 

907. SS. Catherine and Magdalen. 

Lady Ashburton, St. Dominic. St. George. 
Mr. Benson, Madonna, 1472. 
Mr. Mond, SS. Peter and Paul. 
Lord Northbrook, Madonna. E. Resurrec- 
tion. E. SS. Bernardino and Clare. 
South Kensington, Jones Collection, 665. 
Madonna. 
Macerata. 36. Madonna, 1470. 

Massa 
Fermana. Municipio, Altar-piece, 1468. 

Milan. Brera, 189. Crucifixion. 

193. Madonna. L. 

283. Madonna and Saints, 1482. 

294. SS. James, Bernardino, and Pellegrino. 



lOO WORKS OF 

Milan (Con,). 295. SS. Antony Abbot, Jerome, and Andrew. 

GalleriA Oggiono, Coronation of Virgin, with 

John, Catherine, Francis, Augustine, and 

other Saints. Above, a Pieti, 1493. 

MusEo Civico, Collection dell' Acqua, St. 

John. St. Bartholomew. 
Poldi-Pezzoli, Sala Dorata, 20. St. Francis 
adoring Christ. 
PiNACOTECA, 78. St. Sebastian. 
Paris* 1268. St. Bernardino, 1477. 

Pansola. S. Agostino, Madonna. 
Richmond. Sir F. Cook, Madonna. E. 
Rome. Lateran, Madonna, 1482. 

Vatican, Pieti. 
Strasburg. Adoration of Shepherds. 
Venice. Academy, Sale Palladiane, II. SS. Jerome 

and Augustine. 

GIORGIONE. 

1478-1510. Pupil of Giovanni Bellini, influenced by Car- 
paccio. 

Beriin. 12^. Portrait of Man. £. 

Buda-Pesth. Portrait of Man. 

Castelfranco. Duomo, Madonna with SS. Francis and Lib- 

erale. E. 
Dresden. 185. Sleeping Venus. 
Florence. Uffizi, 621. Trial of Moses. E. 

622. Knight of Malta. 

630. Judgment of Solomon. E. 
Hampton Court. loi. Shepherd with Pipe. 
Madrid* Madonna with SS. Roch and Antony of Padua. 
Paris. II 36. Fete Champetre. 

Rome. Villa Borghese, 143. Portrait of a Lady. 

Venice. Seminario, Apollo and Daphne. 

Giovanelli, Gipsy and Soldier. 

S. Rocco, Christ bearing Cross. 



THE VENETIAN' PAINTERS 



lOI 



Vicenza. 
Vienna. 



Amiens. 

Bassano. 

Bergamo. 



Berlin. 

Cambridge. 
London. 



Milan. 



Oxford. 

Padua. 
Paris. 



Casa Loschi, Christ bearing Cross. E. 

239. Evander showing ^Eneas the Site of Rome. 

GUARDI. 

171 2-1 793 . Pupil of Canaletto. 

216, 217, 219. Views. 

Sala del Cavallo, 85. The Piazza. 

LocHis, 89-93, 106-108. Landscapes and Views. 

Baglioni, Two Venetian Views. 

CoNTE Moroni, Villa by the Sea. 

501^. Grand Canal. 501^. I^agoon. 501^*°. 

Cemetery Island. 
FiTZWiLLiAM Museum, Four small Views. 

210, 1054. Views in Venice. 

South Kensington, Owen Jones Collection, 

104. View near Venice. 
Lady Ashburton, Venice from St. Giorgio 

Maggiore. 
Mr. Doetsch, Ruin by Shore, Dilapidated 

Church. 
Sir Wm. Farrer, View near Venice. 
Mr. Mond, Pius VI. holding a Reception. 
Dr. Richter, Cannar^gio. 
Mr. Salting, The Rialto, View near Venice. 

Gothic Ruins. Classic Ruins. 
Museo Civico, 69, 71-74. Landscapes. 
Poldi-Pezzoli, 87. Piazetta. 89. Dogana. 

116, 117. Tiny Landscapes. 

Taylorian Museum, 65, 66. Views in Venice. 
300, 381. Views in Venice. 802. Hunting Scene. 

211. Procession of Doge to S. Zaccaria. 

1328. Embarkment in Bucentaur. 1329. Fes- 
tival at Salute. 

1330- ** Jeudi Gras i Venise." 1331. Corpus 
Christi. 

1333. Saladi CoUegio. 1334. Coronation of Doge. 



I02 WORKS OF 

« 

Richmond. Sir F. Cooke, The Fiazza. 

Rouen. 235. A Villa. 

Strasburg. 18. The Rialto. 

Turin, 290 bis. Cottage. 781. Staircase. 782. Bridge 

over Canal. 
Venice. Museo Correr, Sala X, 25. The Ridotto, 

26. Parlour of Convent of S. Zaccaria. 
Verona. 223, 225. Landscapes. 

The above list represents but a part of Guardi's known 
works, but the others are changing hands so rapidly that it 
is useless to name their present owners. 

BERNARDINO LICINIO. 

Active 1 520-1 544. Pupil of Pordenone, influenced by Gior- 
gione, Palma, and Bonifazio. 

Bergamo* Lochis, 197. Portrait of a Lady. 
PicciNELLi, Madonna and Saints. 
Brescia. Martinengo, Sala C, 16. Portrait of a Young 

Man, 1520. 
DuoMO Vecchio, Christ bearing Cross. Ado- 
ration of Shepherds. 
Buda-Pesth. Two Portraits of Ladies. 
Dresden. 200. Portrait of a Lady, 1533. 
Florence. Uffizi, 574. Madonna with St. Francis. 587. 

Portrait of Man. 
Genoa. Brignoli-Sale, Sala VII, Portrait of Francesco 

Philetus. 
Hampton Court. 71. Lady playing on Virginals. 104. 

Faniily Group, 1524. 
London. Portrait of a Young Man. 

Lady Ashburton, Young Man with his Hand 

on a Skull. 
Mr. Butler, Portrait of Lady, 1522. 
Mr. Doetsch, Barbara Kressin, 1544. 
Lucca. Sala I, 68. Santa Conversazione. 



THE VENETIAN PAINTERS 



103 



Milan. Museo Civico, 88. Portrait of Lady. 

Archbishop's Palace, Holy Family. 
Crespi, Portrait of a Lady. 
Casa Scotti, Holy Family with two Shepherds. 

Madonna, three Saints, male and female 

Donors. 
123. Portrait of a Lady. 

Sala Romanino, 814. Portrait of Young Man. 
Villa Borghese, 115. Family Group. 171. 

Santa Conversazione. 
4. St. Margaret between SS. Catherine and 

Lucy. 8. Portrait of a Scholar. 
Sale Palladiane, 40. Portrait of Woman. 
LoGGiE Palladlane, 8 1. Group of Putti. 
Sala II, 95. Portrait of Young Woman. 
Frari, Madonna enthroned with Saints. 
The Predella contains five Friars. 
Vienna. 263. Portrait of Ottaviano Grimani, 1541 



Modena. 

Padna. 

Rome. 

Rovigo. 

Venice. 



PIETRO LONGHI. 



1 702-1762. Follower of the Bolognese painter, Crespi. 

Bergamo. Lochis, 60. Gambling Scene. 61. Coffee 

Scene. 
MORELLI, 94. Portrait of Girl. 
Baglioni, Country Party. 
595. Portrait of Lady. 
Mr. Loeser, Milliner Scene. 
Hampton Court. 549, 551. Genre pictures, 1744. 
London. iioo, iioi. Genre pictures. 1102. Andrea 

Tron. 
Mr. Mond, Card Party. Portrait of a Lady. 
Dr. Richter, Card Party. Lady at Toilet. 
Academy, Sala III, 42, 43, 44, 54, 55» 56. 
Genre pictures. 



Dresden. 
Florence. 



Venice. 



I04 



WORKS OF 



Venice (Cm.)* Museo Correr, Sala X, 25, 26, 31-40. 

Scenes of Venetian Life. 41. Boys on 
Horseback. Portrait of Goldoni. 

Pallazzo Grassi, Staircase, Frescoes : Seven 
Scenes of Fashionable Life. 

Quirini-Stampalia, Sala X, 220. Portrait of 
Dainele Dolfino. 
Sala XIII, 11-17. The Seven Sacraments. 
18. Temptation of St. Anthony. 19. Gam- 
bling Scene. 20. A Circus. 21. Monks 
and Canons. 22. Study of Geography. 
26, 299. Portraits of Ladies. 



Ancona. 

Asolo. 
Bergamo. 



LORENZO LOTTO. 

1480-15 56. Pupil of Alvise Vivarini, influenced by Giovanni 
Bellini and Giorgione. 

Alzano Maggiore (near Bergamo). Duomo, Assassination 

of St. Peter Martyr. 

13. Assumption of Virgin, 1550. 37. Madonna 
with four Saints. L. 

Madonna in Glory with two Saints. 1506. 

Carrara, Three Predelle belonging to S. Bar- 
tolommeo Altar-piece. 
66. Marriage of S. Catherine, with portrait of 
N. Bonghi, 1523. 

Portrait of a Lady. 

LocHis, 32, 33, 34. Sketches for Predelle, con- 
taining the story of S. Stephen. 185. Holy 
Family and S. Catherine, 1533. 

S. Alessandro in Colonna, Pieti. 

S. Alessandro in Croce, Trinity. 

S. Bartolommeo, Altar-piece, 15 16. 

S. Bernardino, Altar-piece, 1521. 

S. Maria Maggiore, Intarsias, 1524-1530. 

S. MiCHELE, Frescoes in Chapel L. of Choir. 



THE VENETIAN PAINTERS I05 

Bergamo (Con,\ S. Spirito, Altar-piece, 1521. 

PiCCiNBLLi, Madonna with SS. Sebastian and 
Roch. Angel with Globe and Sceptre, 
(originally top of S. Bartolommeo Altar- 
piece.) 
Berlin. 153. Portrait of an Architect. 

182, 320. Portraits of Young Men. 
323. SS. Sebastian and Christopher, 1531. 
325. Christ taking leave of his Mother, 1522. 
Brescia. Tosio, Sala XIII, 34. Nativity. 
Celana (near Bergamo). Church, Assumption of Virgin, 

1527. 
Cingoli (Province of Macerata). S. Domenico, Madonna 

with six Saints, and fifteen small scenes from the 

Lives of Christ and the Virgin, 1539. 
Costa di Mezzate (near Bergamo). Marriage of St. 

Catherine, 1522. 
Dresden. 295. Madonna, 1518. 

Florence. Uffizi, 575. Holy Family with St. Jerome, 1 534. 
Hampton Court. 114. Portrait of Young Man. £. 

148. Portrait of Andrea Odoni, 1527. 
Jesi.' MuNiciPio, Three Predelle containing Story of 

St. Lucy. 

Library, Pieti, T512. 

Annunciation. 

St. Lucy before the Judge. 

Madonna and Saints, (lunette) Francis receiving 
Stigmata 1526. 

Visitation, (lunette) Annunciation, 1530. 
London. 699. Portraits of Agostino and Niccolo della 

Torre, 1515. 

1047. Family Group. 

1 105. Portrait of Prothonotary Giuliano. 

Bridgewater House, Madonna and Saints. E. 

' All the Lottos at Jesi are presently to be transported to 
the Palazzo della Signoria. 



io6 



WORKS OF 



London (Con.), Dorchester House, Portrait ol a Lady. 
Mrs. Martin Colnaghi, Madonna with SS. 

Jerome and Antony of Padua, 1522. 
Prof. Conway, DanSe. E. 
Loreto. Palazzo Apostolico, 30. SS. Christopher, 

Sehastim, and Roch« 
34. Christ and Adulteress. 
42. Nativity. 

25, 27. SS. Lucy and Thecla. 24, 28. Two 
Prophets. L. 

31. Michael driying Lucifer from Heavm. L. 

32. Presentation in Temple. L. 21. Baptism. 
L. 

20. Adoration of Magi. L. 50. Sacrifice of 
Melchisedec. L. 
Madrid. 287. Bridal Couple, 1523. 478. St. Jerome. 
Milan. Brera. 244. Piet4, 1545. 253. Portrait of 

Lady. 254. PcHirait of Old Man. 255. 

Portrait of Man. All L. 

Gal. Oggioni, 16. Assumption of Virgin. E. 

Poldi-Pezzoli, Pinacoteca, 86. Holy Family. 

MusEO Civico, 83. Portrait of Young Man. 

BoRROMEO, Christ on Cross with Symbols of 

the Passion. 
Dr. Frizzoni, St. Catherine. 
Monte S. Giusto (near MaceraU). Church, Crucifixion, 1531. 
Munich. 1083. Marriage of St. Catherine. E. 
Nancy. Head of a Man. L. 
Naples. Sala Veneta, 56. Madonna with St. Peter 

Mart3n-. E. 
Paris. 1349. Christ and Adulteress. 

1350. St. Jerome, 1500. 1351. Nativity. 
Ponteranica (near Bergamo). Church, Altar-piece in six 

panels. 
Recanati. Municipio, Altar-piece in six parts, 1508. 

Transfiguration. E. 



THE VRNETIAJ^ PAINTERS IO7 

Recanati (Qm.). S. Domenico, Fresco : S. Vincent in Glory. 

S. Maria sopra Mercanti, Annunciation. 
Rome. Villa Borghese, 193, Madonna with S. Onofrio 

and a Bishop, 1508. 

1&5. Portrait of Man. 

Capitol, Sala II, 74. Portrait of Man. 

DORIA, Portrait of Man. St. Jerome. 

RospiGLiosi, Allegory. 
Sedrina (near Bergamo). Church, Madonna in Glory and 

four Saints, 1542. 
Trescorre. Suardi Chapel, Frescoes, 1524. 
Trcviso. Sala Sernagiotto, 20. Portrait of Monk, 1526. 

S. Cristina, Altar-piece, (lunette) Dead Christ. 
E. 
Venice. Carmine, S. Nicholas in Glory, 1529. 

S. GiACOMO dall' Orio, Madonna and Saints, 
1546. 

S. Giovanni b Paolo, S. Antonino bestowing 
Alms, 1542. 
Vienna. 273. Santa Conversazione. 

274. Portrait of Man. 

BARTOLOMMEO MONTAGNA. 

1450 circa-1523. Pupil of Alvise Vivarini ; influenced by 
Gentile Bellini and the Paduan sculptor, Bellano. 

Belluno. 34. Madonna. £. 

Bergamo. Lochis, 128. Madonna with SS. Roch and 

Sebastian, 1487. 
MORELLI, 44. St. Jerome. 
Frizzoni-Salis, Madonna. 
Berlin. 44. Madonna, Saints, and Donors, 1500. 

Certosa (near Pavia). Madonna, SS. John, Onofrio, and 

three Angels. 
London. Sir Wm. Farrer, Madonna. E. 

Mr. Ludwig Mond, Madonna with St. Roch. 
E. 



io8 



WORKS OF 



Milan. Brera, 167. Madonna, four Saints, and three 

Angels, 1499. 
Poldi-Pezzoli, St. Jerome. St. Paul. Two 

Tondi (on a cassone.) 
Dr. Gust. Frizzoni, St. Jerome. 
Padua. Bishop's Palace, Hall, Frieze with Busts of 

Paduan Bishops. 
S. Maria in Vanzo, Madonna and four 

Saints. 
ScuoLA DEL Santo, Fresco 6. Opening of St. 
Anthony's Tomb. 
Panshanger. Lord Cowper, Madonna. 
Paris. 1393. Ecce Homo. 1394. Three Angels. 

Praglia (near Padua). Refectory, fresco : Crucifixion. 
Strasburg. 6. Holy Family. 

Venice. Academy, Sale Palladiane, 13. Madonna, SS. 

Sebastian and Jerome. Sala IX, 38. 
Christ between SS. Roch and Sebastian. 
Lady Layard, John the Baptist between two 
other Saints. 
Verona. 76. Two Saints. 

S. Nazzaro e Celso, SS. Nazzaro and Celso. 
SS. John and Benedict. Pieta. SS. Blaise 
and Giuliana. Frescoes : Legend of St. 
Blaise. All 1491-1493. 
Vicenza. Sala V, i. Holy Family. 

2. Madonna enthroned, four Saints, three 

Angels. £. 

3. Madonna with SS. Monica and Mary Mag- 

dalen. 

5. Madonna. L. 

6. Madonna. L. 

8. Presentation in Temple. 

9. S. Agnes. 

17. Madonna with SS. John the Baptist and 
Onofrio. 



THE VENETIAN PAINTERS IO9 

Vicenza (C<7».). 19. Madonna. L. 

DUOMO, Fresco : Nativity. Altar-piece, Ma- 
donna with SS. Catherine and Margaret. 
Frescoes : SS. Margaret and Catherine. 

S. Corona, Magdalen between four other Siants. 

S, Lorenzo, Fresco in Chapel L. of Choir. 

Monte Berico, Pieti, 1500. Fresco ; Pieti. 

PALMA VECCHIO. 

1480 circa -1528. Pupil of Giov. Bellini ; influenced by 
Giorgione. 

Bergamo. Lochis, 183. Madonna and two Saints. L. 
Berlin. 197A. Head of Young Woman. £. 

197B. Bust of Woman. 

174. Portrait of Man. 
Brunswick. Adam and Eve. £. 

Cambridge. Fitz William Museum, Venus. L, (in part). 
Dresden. 188. Madonna with John the Baptist and St. 

Catherine. 

189. Three Sisters. 

190. Venus. 

191. Holy Family with S. Catherine. 

192. Meeting of Jacob and Rachel. L. 
Florence. Uffizi, 619. Judith. L. 

Genoa. Brignole-Sale, Madonna with Magdalen and 

John. L. 
Hampton Court. 115. Santa Conversazione. 

240. Head of Woman. L. 
London. 636. Portrait of Man. 

Mr. Benson, Santa Conversazione and Donor, 

finished by Cariani. 
Mr. Mond, Bust of Woman. L. 
Milan. Brera, 290. SS. Helen, Constantine, Roch, and 

Sebastian. 172. Adoration of Magi, L., fin- 
ished by Cariani. 



no 



WORKS OF 



Munich. 
Naples. 

Paris* 

Pegfaera. 

Rome. 



Serina. 
Venice. 



Vicenza. 
Vienna. 



1108. Madonna, SS. Roch and Mary Magdalen. 

Sala Grande, 38. Santa Conversazione, with 
male and female Donors. 

1399. Adoration of Shepherds and female Donor. 

Church, Polyptych. 

Villa Borghssk, 106. Lucrece. L. 163. 
Madonna, Francis, Jerome, and Donor. 

Capitol, Christ and Adulteress. 

CoLONNA, Madonna, St. Peter, and Donor. 

Church, Polyptych. 

Academy, Sala II, i. Christ and Adulteress. 
Sala IX, 8. St. Peter enthroned and six other 
Saints. 33. Assumption of Virgin. L. 

Quirini-Stampalia, Sala IV. Unfinished Por- 
trait of Young Woman. L. 
Sala XVII, Portrait of Man. 

GiovANELLi, Sposalizio. L. 

S. Maria Formosa, St. Barbara Altar-piece. 

Sir Henry Layard, Knight and Lady (a frag- 
ment.) 

S. Stefano, Madonna and Saints. 

316. John the Baptist. 

317. The Visitation, finished by Cariani. 

318. Santa Conversazione. 

322. Portrait o{ Lady. L. 

323. Violante. L. 

324. 325, 326, 327. Busts of Women. 
329. Portrait of Old Man. 
LiCHTENSTEiN, Two Madonnas. 



SEBASTIANO DEL PIOMBO. 

1485 circa -1547. Pupil of Giov. Bellini, Cima, and Giorgi- 
one ; later, influenced by Michelangelo. 

Berlin. 237. Pieti. L. 259^. *' Dorothea." 

Florence. Uffizi, 1123. **Fomarina," 1512. 592. Death 

of Adonis. 



THE VENETIAN PAINTERS 



III 



Florence {Con.\ Pitti, 179. Martyrdom of St. Agatha, 

1520. 409. Portrait of Man. L. 
London. i. Resurrection of Lazarus, 15 19. 24. Portrait 

of Lady. L. Holy Family and Donor. 
Mr. Benson, Portrait of Man. L. 
Duke of Grafton, Carondelet and his Secretaiies. 
Mr. LuDWiG Mond, Portrait of Pietro Aretino. 
Motta di Livenza. Scarpa Gallery, Portrait of Raphael. 
Naples. Sala Grande, 56. Portrait of Ecclesiastic. L. 
Sala Veneta, 15. Head of Clement VII. L. 
Sala dei Correggio, 2. Holy Family. L. 
Paris. 1352. Visitation, 1521. 1500. St. John in Desert. 

Parma. 302. Clement VII. and a Chamberlain. 

St. Petersburg. PcM-trait of Cardinal Pole. L. 
Rome. DORIA, Portrait of Andrea Doria. L. 

Farnesina, Sala di Galatea, Frescoes in 8 

lunettes, 1511. 
S. Maria del Popolo, Birth of Virgin. L. 

(in part.) 
S. Pietro in Montorio, Frescoes first Chapel 

Right. 
S. N1CCOL6, Incredulity of Thomas. E. 
Academy, Sala IX. Visitation. £. 
Lady Layard, Pieti. E. 
S. Bartolommeo in Rialto, SS. Bartholomew, 
Louis, Sinibald, and Sebastian, on separate 
panels. E. 
S. Giovanni Crisostomo, St. John Chrysostom 
enthroned, and other Saints. £. 
Vienna. 352. Portrait of (?) Cardinal Giulio di Medici. 
Viterbo. Pieti. L. 

G. A. PORDENONE. 

1483-1540. Developed under the influence of Giorgione and 
Titian. 

Casarsa. Old Church, Frescoes : Story of True Cross, 1 525. 
Colalto (near Susigana). S. Salvatore, Frescoes. E. 



Treviso. 
Venice. 



112 WORKS OF 

Cremona. Duomo, Frescoes : Christ before Pilate : Way 

to Golgotha. Nailing to Cross. 
Cracifixion. All 1531. 

Altar-piece : Madonna enthroned with S. Dom- 
inic, Paul, and Donor, 1522. 
Fresco: Deposition, 1522. 
London. Dorchester House, Salome. L. 
Motta di Livenza. S. Maria dei Miracoli, Frescoes: 

Annunciation. 
Morano. S. Maria degli Angeu, Annunciation. L. 
Naples. Sala Grande, 57. Dispute about the Sacra- 
ment. (?) 
Piacenza. Madonna di Campagna, Frescoes: Birth of 

Virgin ; Adoration of Magi ; Disputation 
of St. Catherine. 
Altar-piece : Marriage of St. Catherine. All 

1529-1531. 
Pordenone. Duomo, Madonna covering with mantle six 

Donors, SS. Joseph and Christopher to R. 
and L. 151 5. Fresco: SS. Erasmus and 
Roch, 1525. St. Mark enthroned, SS. Se- 
bastian, Jerome, John, and Alexander, 1535. 
MUNiciPio, St. Gothard between SS. Roch and 
Sebastian, 1525. 

San Daniele (near Udine). Duomo, Trinity, 1535. 

Spillmbergo. Duomo, Assumption of Virgin. Conversion 

of St. Paul. Simon Magus, 1524. 

Susigana. Church, Madonna and four Saints. £. 

Torre (near Pordenone). Church, Madonna and four Saints. 

Treviso. Duomo, Adoration of Magi, and other frescoes, 

1520. 

Venice. Academy, Sala II, 72. Portrait of Lady. 73. 

Head of Man Praying. 
Sala VII, 22. Madonna of Carmel. Saints, and 
the Ottobon Family. 25. St. Lorenzo 
Giustiniani and three other Saints. 



THE VENETIAN PAINTERS 



113 



Venice {Con,\ S. Giovanni Elimosinario, SS. Roch, 

Sebastian, and Catherine. 
S. Rocco, SS. Martin and Christopher, 1528. 
S* StefanOi Ruined Frescoes in Cloister. 



ANDREA PREVITALI. 

Active 1502-1525. Pupil of Giovanni Bellini ; influenced by 
Lotto, 



Bergamo. 



Berlin. 

Ceneda. 

Dresden. 

London. 



Carrara, 25. Pentecost. 
68. Marriage of St. Catherine. 
97. Altar-piece in 8 parts. 

182. Madonna, 15 14. 

183. Madonna, two Saints, and Portraits of 
Cassoti and his Wife. 

184. Madonna. 

LoCHis, 171. Madonna. E. 

176. Madonna with SS. Dominic and Sebastian, 

1506. 
Baglioni, Madonna and two Saints. 
CoNTE Moroni, Madonna, Saint, and Donor. 

Family Group. 
S. Alessandro in Croce, Crucifixion, 1524. 
S. Andrea, Entombment. 
DuOMO, Altar-piece, and three Predelle in 

Sacristy, 1524. 
S. Maria Maggiore, Fresco over S. Door. 
S. Spirito, St. John the Baptist and four other 

Saints, 1515, Madonna between four 

female Saints, 1525. 
39. Madonna and four Saints. 
45. Marriage of St. Catherine. 
S. Maria di Meschio, Annunciation. E. 
60. Madonna and Saints, 15 10. 
695 . Madonna and Donor. E. 



114 WORKS OF 

Milan. Brera, 304. Christ in Garden, 1512. 

Bonomi-Cereda, Madonna and two Saints, 
1522. 

Dr. Gust. Frizzoni, Madonna and Donor, 
1506. 
Oxford. Christ Church Library, Madonna. 
Padua. Cavalli, 1423. Madonna and Donor, 1502. 

Venice. Palazzo Ducale, Chapel, Christ in Limbo. 

Crossing of Red Sea. 

Lady La yard, Head of Christ. 

S. GiOBBE, Marriage of St. Catherine. 

Redentore, Nativity. Crucifixion. 
Verona. 151. Stoning of Stephen. 

173. Immaculate Conception. 
Vienna. 246. Madonna. E. 



N. RONDINELLI. 

I 

Active about 1480-1500. Pupil of Giovanni Bellini, whose 
name he often signs, slightly influenced by Palmezzano. 

Berlin. 11. Madonna. 

Fermo. Carmine, Madonna and Saints. 

Florence. Uefizi, 354. Portrait of Man. 384. Madonna 

and two Saints. 

Forli. 90. Madonna. 

DuoMO, St. Sebastian. 

Milan. Brera, 176. Madonna, four Saints, and three 

Angels. 177. St. John appearing to Galla 
Placida. 
MUSEO Civico, 97. Madonna, SS. Francis and 
Peter. 

Padua. Sala £mo, Portrait of Young Man. 

Paris. II 58. Madonna between SS. Peter and Sebas- 

tian. 

Ravenna. 13. Madonna and four Saints. Madonna be- 
tween SS. Catherine and John. 



THE VENETIAN PAINTERS 11$ 

Ravenna {Con,\ S. Domenico, four large pictures, probably 

Organ Shutters. Madonna, Gabriel, St. 
Peter Martyr, S. Dominic. 
Rome. Barberini, Two Madonnas. 

Capitol, Portrait of Man. 
DORIA. Two Madonnas. 
Stuttg^art. 22. Madonna. 

Venice. Museo Correr, Sala VII, 19. Madonna. Sala 

IX, 19. Madonna, two Saints, and two Donors. 
Giovanelli, Two Madonnas. 
Lady Layard, Madonna. 
S. Fantino, Holy Family. 

GIROLAMO SAVOLDO. 

Circa 1480-1548. Possibly pupil of Francesco Bonsignori ; 

influenced by Bellini, Giorgione, Palma, and Lotto. 
Berlin. 307. Mourning over Dead Christ. 

307^. Magdalen. 
Brescia* Martinengo, Sala C, Adoration of Shepherds. 
Fermo. Casa Bernetti, St. Jerome in Landscape. E. 

Florence. Uffizi, 645. Transfiguration. 

Mr. Loeser, St. Jerome. 
Hampton Court. 138. '* Gaston de Foix." 139. Nativity 

and Donors, 1527. 
London. 1031. Magdalen. 

Mr. Doetsch, Bust of Man. 

Mr. Mond, Portrait of Man. 
Milan. Brera, 234. Madonna in Glory and four Saints. 

Ambrosiana, 52. Transfiguration. 
Munich. Lotzbeck Collection, 98. Rest in Flight. 
Paris. 1518. ** Gaston de Foix." 

Rome. Villa Borghese, 138. Head of Youth. 

Capitol, Portrait of Woman seated. 
Seven Oaks. Lord Amherst, Flute-player. 
Treviso. San Niccol6, Altar-piece, 1521. 
Turin. 118. Nativity. 119. Adoration of Shepherds. 

Urbino. Casa Albani, Rest in Flight. 



ii6 



WORKS OF 



Venice. Sale Palladiane, 6o. The Hermits Antony 

and Paul. 
S. GiOBBE, Adoration of Shepherds. 
Lady La yard, St. Jerome. 
Verona. Santa Maria in Organo, Madonna in Glory 

and Saints, 1533. 
Vienna. 103. An Apostle. 551. Entombment. 

Lichtenstein, Portrait of Young Warrior. 

G. B. TIEPOLO. 

1696-1770. Influenced by G. B. Piazzetta, formed on Paolo 
Veronese. 

Amiens. 233, 234, 235, 236. Sketches. 
Berg^amo. Carrara, 281, 282. Sketches. 
LocHis, 74. Sketch. 
Baglioni, Two legendary subjects. 
PicciNELLi, Christ in the Garden. L^endary 

subject. 
DUOMO, Martyrdom of St. John the Bishop. 
Colleoni Chapkl, Lunettes: Story of the 
Baptist. 
Berlin. 454. After the Bath. 459. Reception. 459^* St. 

Dominic and the Rosary. 459®- Martyr- 
dom of St. Agatha. 
London. 1192, 1193. Sketches. 1333. Deposition. 

Dr. Richter, Two Versions of Christ and 
Adulteress. Two legendary subjects. 
Milan. Palazzo Chierici, Chariot of the Sun, ceiling 

fresco. 
Poldi-Pezzoli, Pinacoteca, 74. A Sketch. 
90. Madonna and Saints. 
Munich. 1271. Adoration of Magi. 1272, 1273. His- 
torical subjects. 
Padua. Sala Romanino, 654. St. Patrick. 

Santo, Martyrdom of St. Agatha. 



THE VENETtAIf PAlNTEkS 



117 



Paris. 

Parma. 
Piovc (near 

Turin. 

Udine. 

Venice. 



Verona. 
Vicenza. 



Vienna. 



1547. Christ at Emaus. 1549. Standard painted 

on both sides. 
216. St. Antony Abbot. 
Padua). S. Niccol6, Franciscan Saint in 

Ecstasy. 
286 bis. Triumph of Aurelian. 293. St. Antony 

Abbot. 
31. Chapter of Maltese Order. 
S. Maria della PietA, Ceiling. 
Sala II, 7. S. Joseph, the Child, and four 

Saints. 
Palazzo Ducale, Sala di Quattro Porte. 

Neptune and Venice. 
Seminario, Refectory, Christ at Emaus. 
Quirini-Stampalia, Sala X, 219. Portrait of 

Procurator. 
Palazzo Labia, Frescoes : Antony and Cleo- 
patra. 
Palazzo Rezzonico, Two Ceilings. 
S. Alvise, Christ at Column. Way to Golgotha. 
S. Apostoli, Communion of S. Lucy. 
S. Fava, The Virgin and her Parents. 
Gesuati, Ceiling. Altar-piece : Madonna and 

three female Saints. 
S. Giovanni e Paolo, Ceiling of R. Chapel. 
S. Maria della PietA, Ceiling. 
S. Paolo, Stations of the Cross. 
ScALZi, Ceiling. 

ScuoLA DEL Carmine, Ceiling paintings. 
70. Four Olivetan Saints. 
Entrance Hall, i. Immaculate Conception. 
Villa Valmarana, Frescoes in Villa and 

Casino, subjects from Homer, Virgil, Ari- 

osto, and Tasso, also Costume Pieces, and 

Oriental Scenes. 
Academy, 484. Sketch. 



k^J 



ii8 



WORKS OF 



JACOPO TINTORETTO. 

1 5 18-1592. May have been a pupil of Bonifazio Veronese; 
influenced by Titian, Parmigianino, and Michelangelo. 



Bologna. 
Brescia. 

Dresden. 

Escurial. 
Florence. 



Ang^burg^. 265. Christ in the House of Martha. 
Bergamo. Carrara, hi. A Lady dressed as a Queen. 
Berlin. 298. Portrait of Procurator. 

299. The same. 

300. Madonna with SS. Mark and Luke. 
310. Luna, and the Hours. 
316. Procurator before St. Mark. 
145. Visitation. Corridor IV. Portrait of Man. 
Tosio, Sala XIII, 14. An Old Man. 
S. Afra, Transfiguration. 
174. Lady dressed in Mourning. 269. The 

Rescue. 270. Two Gentlemen. 

Christ washing the feet of the Disciples. 

Prm, 65, 70. Portraits of Men. 83. Portrait of 
Luigi Comaro. 131. Portrait of Vincenzo 
Zeno. 

Uffizi, 378. Portrait of himself. 577. Bust of 

Young Man. 601. Admiral Venier. 615 

Portrait of Old Man. 638. Portrait of 

Jacopo Sansovino. 649. Portrait of Man. 

Hampton Court. 69. Esther before Ahasuerus. 77. Nine 

Muses. 78. Portrait of Dominican. 91. 
Knight of Malta, lio. Portrait of a Senator. 
London. 16. St. George and Dragon. 1130. Christ wash- 
ing feet of Disciples. 1313. Origin of the 
Milky Way. 

Bridgewater House, Entombment. Portrait 
of Man. 

Mr. Doetsch, Portrait of Lady. 

Dorchester House, Two Portraits. Raising 
of Lazarus. 



THE VENETIAN PAINTERS II9 

London (C<m^ Mr. Butler, Moses striking Rock. Portrait 

of Senator. 

Sir Wm. Farrer, The Resurrection. 

Mr. Mond, Galleys at Sea. Portrait of Gio- 
vanni Gritti. 

Mr. Salting, Portrait of Ottavio di Stri, 

1567. 
Lucca. Sala I, 45. Portrait of Man. 

Madrid. 410. Battle on Land and Sea. 

422. Joseph and Potiphar's Wife. 

423. Solomon and the Queen of Sheba. 

424. Susanna and the Elders. 

425. Finding of Moses. 

426. Esther before Ahasuerus. 

427. Judith and Holofemes. 

Milan. Brera, 217. Pieti. 230. St. Helen, three other 

Saints, and two donors. 234 bis. Finding 
of Body of St. Mark. E. 
MusEO Civico, 86. Bust of Procurator. 

Panshanger. Lord Cowper, Portrait of Man. 

Paris. 1464. Susanna and the Elders. 1465. Paradise. 

1467. Portrait of Old Man. 

Richmond. Sir F. Cook, St. John the Baptist. Portrait of 

Senator. 

Rome. Capitol, The Baptism. The Ecce Homo. 

The Flagellation. 
Colonna, Three Women and a Man adoring 
the Holy Spirit. Old Man playing Spin- 
net. Man with a pointed Beard. Young 
Man. 
DoRiA, 131. Portrait of Man. 

Turin. 162. The Trinity. 

Venice. Academy, Sala VII, 52. S. Giustina and 

three donors. 
Sala VIII, 6. Madonna, three Saints, and 
three Donors, 1566. 



I20 WORKS OF 

Venice (CSmi.). Sala IX, 3. Portrait of Cardinal Morostnl. 

19. Portrait of a Senator. 
36. Deposition. 
4a. Senator in Prayer. 
Sala XIV, 2. Portrait of Jacopo Soranzo, 

1564. II. Andrea Capello. E. 
Ceiling : Prodigal Son, Four Virtues. 
Sala XV, 2. Death of Abel. 

3. Two Senators. 

4. Miracle of St. Mark, 1548. 

5. Adam and Eve. 

6. Two Senators. 

Sala XVI, i. Resurrected Christ blessing 

three Senators. 
3. Madonna, and three portraits. 
II bis. Crucifixion. 
23. Resurrection. 
Palazzo Ducale, Collegio, D(^ Mocenigo 

recommended to Christ by St. Mark. 

Figures in grisaille around the Clock. 
Doge Daponte before the Virgin. 
Marriage 6f St. Catherine^and Doge Don&. 
Doge Gritti before the Virgin. 
Ante-Collegio, Mercury and Three Graces. 
Vulcan's Forge. Bacchus and Ariadne. 

Minerva expelling Mars : All, 1578. 
Ante-Room of Chapel, SS. Margaret, 

George, and Louis. 
SS. Andrew and Jerome. 
Senato, St. Mark presenting Doge Loredan to 

the Virgin in presence of two other Saints. 
Sala Quattro Porte, Ceiling (in part). 
Ingresso, Lorenzo Amelio, 1570. Alessandro 

Bono. Vincenzo Morosini, 1580. Nicole 

Priuli. Ceiling. 



/ 



THE VEI^ETIAJ^ PAINTERS \1tl 

Venice (Con,), Passage to Council of Ten, Andrea Del- 

phino, 1573. A. Cicogna. 
Federigo Contarini, 1570. 
Nobles Illumined by Holy Spirit. 
Sala del Gran Consiglio, Paradise, 1590. 
Sala dello Scrutino, Battle of Zara. 
Palazzo Reale, Libreria, Transportation of 
Body of St. Mark. 
St. Mark rescues a shipwrecked Saracen. 
Diogenes, Archimedes, and two other philos- 
ophers on separate canvases : All £. 
Another Room. St Roch. 
Prince Giovanelli, Battle Piece. Portrait of 
Senator. Portrait of General. Portrait of 
Warrior. 
S. Cassiano, Crucifixion, Christ in Limbo. 

Resurrection. 
Gesuiti, Assumption of Virgin. Circumcision. 
S. Giorgio Maggiore, Last Supper. Gather- 
ing of Manna. Entombment. 
S. Giuseppe di Castello, Michael overcoming 

Lucifer. 
S. Maria Mater Domini, Finding of True 

Cross. 
S. Maria dell' Orto, Last Judgment. E. 
Martyrdom of Paul. The Tablets of the 
Law and the Golden Calf. £. Martyrdom 
of St. Agnes. Presentation of Virgin. E. 
S. Marziale, Glory of S. Marziale. 
S. Paolo, Last Supper. Assumption of Vii^n. 
S. Rocco, Annunciation. Pool of Bethesda. 
St. Roch and the Beasts of the Field. St. 
Roch healing the Sick. St. Roch in Campo 
d'Armata. St. Roch consoled by an Angel. 
St. Roch before the Pope. 



122 



ivoj^irs OF 



Vicenza. 



Venice {Cm.). Scuola di S. Rocco, Ground Floor, all the 

paintings on walls. 
Staircase, Visitation. 
Upper Floor, Hall, All the paintings on walls 

and ceiling. Portrait of himself, 1573. 
Immer Room, Cmcifixion, 1 565 . Christ before 
Pilate. Ecce Homo. Way to Golgotha. 
Ceiling, 1560. Altogether, sixty-two paint- 
ings. 
Salute, Marriage of Cana, 1561. 
S. SiLVESTRO, Baptism. 
S. Stefano. Last Supper. Washing of Feet 

Agony in Garden. 
S. Trovaso, Temptation of St. Anthony. 
S. Zaccari/i, Birth of Virgin. 
Entrance Hall, 42. St. Augustine healing the 
Plague-stricken. 
Vieaiuu 459. St. Jerome. E. 

460. Susanna and the Elders. E. 
465. Sebastian Venier. 
468. An Officer in Armour. 
470. Portrait of Procurator. 

473. Portrait of Senator. 

474. Old Man and Boy. 

475. 476. 477. Portraits of Men. 
478. Portrait of Man, 1553. 

480. Portrait of Youth. 

481. Portrait of Man. 

482. Portrait of Old Man. 

483. 484, 485, 486. Portraits of Men. 
511. Portrait of Lady. 

Sala VII, Portrait of Man. 
Wobum Abbey. 36. Portrait of Man. L. 



THE VENETIAN PAINTERS 



123 



1477-1576. 
Ancona. 

Antwerp. 

Ascoli. 
Berlin. 

Brescia. 
Dresden. 



Florence. 



TITIAN. 

Pupil of the Bellini, formed by Giorgione. 

8. Crucifixion. L. 

S. DoMENico, Madonna with SS. Francis, Blaise, 

and Donor, 1520. 
357. Alexander VI presenting Ba£fo to St. 

Peter. E. 
St. Francis receiving the Stigmata. 
160A. Infant Daughter of Roberto Strozzi, 1542. 
163. Portrait of himself. L. 
166. His own Daughter Lavinia. 
S. Nazaro e Celso, Altar-piece in five parts, 

1522. 

168. Madonna with four Saints. £. 

169. Tribute Money. E. 

170. Lavinia as Bride, 1555. 

171. Lavinia as Matron. L. 

172. Portrait of Man, 1561. 

173. A Lady with a Vase. L. 

175. Madonna with a Family as Donors (in part 
only). L. 

176. Lady in Red Dress. 

PiTTi, 18. *' La Bella," Eleanora Gonzaga, 

Duchess of Urbino. 
54. Pietro Aretino, 1545. 
67. Magdalen. 
92. Portrait of Young Man. 
185. The Concert. E. 

200. Phillip II. 

201. Ippolito di Medici, 1533. 
215. Full-length Portrait of Man. 
228. Head of Christ. 

495. ** Tommaso Mosti." 
Uffizi, 599. Eleanora Gonzaga, Duchess of 
Urbino, 1537. 



124 



woRks OP 



Florence (Cli?if.)< 605. Fr. Maria della Royere, Duke of 

Urbino, 1537. 
626. Flora. E. 

633. Madonna with St. Antony Abbot. E. 
1 108. Venus — the head a portrait of Lavinia. L. 

1 1 16. Portrait of Beccadelli, 1552. 

1 117. Venus — the head a portrait of Eleanora 
Gonzaga. 

Genoa. Balbi-Senarega, Madonna with SS. Catherine, 

Domenic, and a Donor. E. 
Hampton Court. 113. Portrait of Man, 1546. 149. Por- 

trait of Man. 
London. 4. Holy Family and Shepherd. 

35. Bacchus and Ariadne. E. 

270. •* Noli me Tangere." E. 

635. Madonna with SS. John and Catherine, 15 33. 

Bridgewater House, Holy Familj*. E. *'The 
Three Ages." E. 

Venus Rising from the Sea. 

Diana and Actseon. 1559. 

Calisto. 1559. 

Mr. Mond, Madonna. L. 
Madrid. 236. Madonna with SS. Ulfus and Bridget. E. 

450. Bacchanal. 

451. Venus Worship. 

452. Alfonso of Ferrara, 15 18. 

453. Charles V. and his dog, 1533. 

454. Phillip II. in Armor, 1550. 

456. The Forbidden Fruit. L. 

457. Charies V. on Horseback, 1548. 

458. Danae, 1554. 

459. Venus, and Youth playing Organ. L. 

461. Salome (Portrait of Lavinia). 

462. Trinity, 1554. 

463. Knight of Malta. L.- 

464. Entombment, 1559. 

465. Sisyphus. L. 



THE VENETIAN PAINTERS 



125 



Madrid {Con^, 466. Prometheus. L. 

469. St. Margaret. L. 

470. Phillip II. offering Infant Don Fernando to 
Victory. L. 

471. Allocution of Alfonso d*Avalos, 1541, 

476. Religion Succoured by Spain. L. 

477. Portrait of himself. 
480. Portrait of Man. 

485. The Empress Isabel, 1544. 
Medole (near Brescia). DuoMO„ Christ appearing to his 

Mother. L. 
Milan. Brera, 248. St. Jerome. L. 

288 bis. Antonio Porcia. 
Munich. mo. "Vanltas." £. 

iiii. Portrait of Man. E. 

1 1 12. Portrait of Charles V., 1548. 

1 1 13. Madonna. L. 

1 1 14. Christ Crowned with Thorns. L. 
Naples. ScuoLA Vrneta, 20. Paul III., Ottaviano, and 

Card. Famese, 1545. 
Padua. ScuoLA del Santo, Frescoes: St. Anthony 

granting Speech to an Infant. The Youth 

who cut off his Leg. The Jealous Husband. 

All, 1511. 
Paris. 1577* Madonna with SS. Stephen, Ambrose, and 

Maurice. E. 

1578. ** La Vierge au Lapin." 

1579. Madonna with St. Agnes. 
1581. Christ at Emaus. L. 

1583. Crowning with Thorns. L. 

1584. Entombment. 

1585. St. Jerome. L. 

1587. ** Venus del Prado." L. 

1588. Portrait of Francis I. 

1589. Allegory. 

1590. '* Alfonso of Ferrara and Laura Dlanti." 



126 



WORKS OP 



Paris (Cim,\ 1591. Portrait of Man with Hand in Belt. 

1592. ** The Man with the Glove." E. 

1593. Portrait of Man with Black Beard. 
Rome. Villa BoRGHESE, 147. Sacred and Profane Love. 

E. 

188. St. Dominic. L. 170. Education of Cu- 
pid. L. 

Capitol, 143. Baptism, with Zuane Ram as 
Donor. E. 

DORIA, Daughter of Herodias. E. 

Vatican, Madonna in Glory with six Saints, 

1523. 
Serravalle. Duomo, Madonna in Glory, with SS. Peter and 

Andrew, 1547. 
Treviso. Duomo, Annunciation. 

Urbino. 39. The Resurrection. L. 42. Last Supper. L. 
Venice. Academy, Sala VII, 21. Presentation of Virgin 

in Temple, 1540 
Sala IX, 16. St. John in the Desert. 
Sala XV, i. Assunta, 1518. 
Sala XVI, 4. Pieti, begun in 1573, not quite 

finished at Titian*s death. 
Palazzo Ducale, Staircase to Doge's private 

apartments, Fresco : St. Christopher, 1523. 
Sala di Quattro Porte, Doge Grimani before 

Faith, 1555, 
Palazzo Reals, on ceiling of ante-room to 

Libreria, Wisdom. L. 
Giovanelli, Portrait of Man. L. 
Frari, Pesaro Madonna, 1526. 
Gesuiti, Martyrdom of St. Lawrence. L. 
S. Giovanni Elemosinario, St. John the Alms- 
giver, 1533. 
S. Lio, St. James of Compostella. L. 
S. Marcuolo, The Christ Child between SS. 

Catherine and Andrew. E. 
S. Marziale, Tobias and the Angel, 1540. 



THE VENETIAN' PAINTERS 



127 



Venice {Con^, ScuolA di S. Rocco, Annunciation. Dead 

Christ. (?) E. 

Salute, Descent of Holy Spirit. L. 

Celling of Choir : Eight Medallions, one a Por- 
trait of Titian himself, the rest Heads of 
Saints. 

Sacristy, St. Mark between SS. Roch, Sebastian, 
Cosmas, and Damian. E. 

Salut£, Sacristy, Ceiling, David and Goliath. 
Sacrifice of Isaac. Cain slaying Abel. 

S. Salvatore, Annunciation. L. Transfigu- 
ration. L. 

S. Sebastiano, St. -Nicholas of Bari (in part), 

1563. 
Verona* 51. Portrait of Ferdinand, King of the Romans. 

DuoMO, Assumption of Virgin. 
Vienna. 489. *' Gipsy Madonna." E. 

490. '* Madonna with the Cherries." E. 

494. ** The Laige Ecce Homo," 1543. 

502. ** The Little Tambourine Player." E. 

505. Isabella d'Este, 1534. 

506. " Das MSdchen im Pelz" (Eleanora Gon- 
zaga). 

507. •* Benedetto Varchi." 

517. " The Physician Parma;" E. 
$iB. John Frederick of Saxony, 1548. 
520. Fabrizio Salvaresio, 1553. 

522. Jacopo di Strada, 1566. 

523. Shepherd and Nymph. L. 
CzOrnin, Portrait of Doge Gritti. 

PAOLO VERONESE. 

1 528-1588. Pupil of Antonio Badile, strongly influenced by 
Dom. Brusasorci. 

Dresden. 224. Madonna with Cuccina Family, 

225. Adoration of Magi. 

226. Marriage of Cana. 



128 



WORKS OP 



Dresden (Om^. 229. Finding of Moses (in part only). 
Florence. Pitti, 216, Portrait of Daniel Barbaro. 

Uffizi, 589. Martyrdom of S. Giustina. 
1 1 36. Holy Family and St. Catherine. 
Hampton Court. Madonna and Saints. (?) 



E. 



London. 



Madrid. 

Maser. 
Milan. 

Padna. 
Paris. 



Rome. 



Venice. 



26. Consecration of St. Nicolas. 

294. Alexander and the Family of Darius. 

Dr. Richter, Holy Family. E. 

528. Christ and the Centurion. 

532. Finding of Moses. (?) 

Villa Barbaro, Frescoes. 

Brera, 227, SS. Anthony, Cornelius, and 
Cyprian, and Page. 

S. Giustina, Martyrdom of St. Giustina. 

TI96. Christ at Emaus. 

1 199. Young Mother and Child. £. 

1 192. Marriage of Cana. 

CoLONNA, Portrait of Man in Green. 

Villa Borghese, ioi. St. Anthony preaching 
to the Fishes. 

Academy, Sale Palladiane, 63. Battle of 
Lepanto. 
Sala VIII, 21. Feast in House of Levi, 1573. 
Sala XV, 9. Madonna with SS. Joseph, John, 
Francis, Jerome, and Giustina. 

Palazzo Ducale, Collegio, Thanksgiving for 
Lepanto. 
Ante-Collegio, Rape of Europa. 

S. BarnabA, Holy Family. 

S. Caterina, Marriage of St. Catherine. 

S. Francesco d|;lla Vigna, Holy Family with 
SS. Catherine and Antony Abbot. 

S. Sebastiano, Madonna and two Saints. Cru- 
cifixion. Madonna in Glory with St. Sebas- 
tian and other Saints. SS. Mark and Mar- 
cilian led to Martyrdom (in part). St. 
Sebastian being Bound. (?) 



J 



THE VENETIAN PAINTERS 



129 



Venice (Con.), Frescoes : SS. Onofrio and Paul the Hermit. 

SS. Matthew and Mark. SS. Roch, Andrew, 
Peter, and Figure of Faith. Tiburtine and 
Cumsean Sibyls. 
Verona. 267. Portrait of Pasio Guadienti, 1556. 245. 

Deposition. (?) 
S. Giorgio, Martyrdom of St. George. 
S. Paolo, Madonna and Saints. E. 
Vicenza. Sala II, 12. Madonna. 

Monte Berico, Feast of St. Gregory, 1572. 
Vienna. 579. Christ at the House of Jairus. 

ALVISE VIVARINI. 

Active 1461-1503. Pupil of his relative, Bartolommeo, 



Berlin. 

Florence. 

London. 



38. Madonna enthroned with six Saints. 
Mr. Charles Loeser, Madonna. 
Sir Charles Robinson, Portrait of Man. 
Mr. Salting, Portrait of Youth. 
Milan. Bonomi-Cereda, Portrait of Man, 1497. 

Bagati-Valsecchi, S. Giustina dei Borromei. 
L. 
Montefiorentino. Polyptych, 1475. 
Naples. ScuoLA Veneta, i. Madonna with SS. Francis 

and Bernardino, 1485. 
Padua. 1371. Portrait of a Man. 

Paris. 1 5 19. Portrait of a Man. L. 

Venice. Academy, Sala I, i6. St. Matthew. 22. St. 

John the Baptist. 23. St. Sebastian. E. 
24. St. Antony Abbot. E. 25. St. John 
Baptist. E. 26. St. Laurence. E. 27. St. 
Clare. 
Sala III, 33. Head of Christ. L. 
Sala IX, 11. Madonna and six Saints, 1480. 
MusEO Correr, Sala IX, 44. St. Antony of 

Padua. 
Frari, St, Ambrose enthroned and Saints. Be- 
gun in 1503, finished by Basaiti. 



l^O 



THE VENE TIAN PAINTERS 



Venice (6Vi».)*S. Giovanni in Bragora, Madonna. Head of 

Christ, 1493. Resurrection, 1498. Predelle 
to last. Busts of Saviour, John, and Mark. 
S. Giovanni e Paolo, Christ bearing Cross. 
Redentors, Sacristy, Madonna. 
Lady Layard, Portrait of Man. 
Seminario, Stanza del Patriarco, Portrait 
of Man. L. 
Vienna. 595. Madonna, 1489. 
Windsor Castle. Portrait of Man with Hawk. 



BARTOLOMMEO VIVARINI. 

Active 1450-1499. Pupil of Giovanni and Antonio da Murano ; 
influenced by Paduans. 

Bergamo. Frizzoni-Salis, Madonna and two Saints. 
Berlin. 27. Madonna. 

Fermo. Count Bernetti. SS. Francis and James. 

London. 284. Madonna with SS. Paul and Jerome. 

Mr. Butler, Madonna. 
Naples, Sala Veneta, 5. Madonna enthroned, 1465. 
Paris. 1607. St. John Capistrano, 1459. 

Turin. Madonna, 1481. 

Venice. Academy, Sala I, i. Altar-piece in five parts, 

1464. 15. Mary Magdalen. 21. St. Bar- 
bara, 1490. 
Frari, Madonna and four Saints, 1482. 
S. Giovanni in Bragora, Madonna between 

SS. Andrew and John, 1478. 
S. Giovanni e Paolo, St. Augustine, 1473. 

SS. Dominic and Lawrence. 
S. Maria Formosa, Triptych : Madonna, Birth 
of Virgin, Meeting of Joachim and Anne, 

1473. 
Vienna. 594. St. Ambrose between SS. Peter, Louis, 

Paul, and Sebastian, 1477. 



INDEX OF PLACES. 



Alzano. Church: Lotto. 
Amiens. Guardi, Tiepolo. 
Ancona. Gallery : Crivelli, Lotto. Titian. 

S. DoMENico : Titian. 
Antwerp. Gallery : Antonello, Titian. 
Ascoli. DuoMo : Crivelli. Gallery : Titian. 

Asolo. Church: Lotto. 

Augsburg. Gallery : Barbari, Bassano, Tintoretto. 
Bassano. Gallery, Duomo, and S. Giovanni : Jacopo 

Bassano. 
Bergamo. Gallery, Carrara Collection: Bartolom- 

meo Veneto, Basaiti, Bassano, Bonifazio, 
Cariani, Catena, Lotto, Previtali, Tintoretto. 
LocHis Collection : Antonello, Barbari, 
Bartolommeo Veneto, Basaiti, Giovanni Bel- 
lini, Bonsignori, Bordone, Cariani, Crivelli, 
Guardi, Licinio, Lotto, Montagna, Palma 
Vecchio, Previtali. 
MoRELLi Collection: Basaiti, Giovanni 
Bellini, Cariani, Cima, P. Longhi, Montagna. 
Private Collections. 
Baglioni : Cariani, Guardi, Longhi, Previtali, 

Tiepolo. 
Frizzoni-Salis : Barbari, Basaiti, Bassano, 
Bonifazio, Montagna, Bartolommeo Vi- 
varini. 
Moroni : Guardi, Previtali. 
PicciNELLi: Basaiti, Cariani, Licinio, Lotto, 
Tiepolo. 

i"^i 



13^ 



THE VENETIAN PAINTERS 



Betlnno. 
Berlin. 



Bergamo {Con,). Roncalli : Bartolommeo Veneto, Cariani. 

SuARDi : Cariani, Bassano. 
Churches. 
S. Alsssandro in Croce : Lotto. 
S. Alsssandro in Colonna : Lotto. 
S. Andrea : Previtali. 
S. Bartolommeo : Lotto. 
S. Bernardino : Lotto. 
CoLLEONi Chapel : Tiepolo. 
DuoMO : Cariani, Previtali, Tiepolo. 
S. Marla. Maggiore : Lotto, Previtali. 
S. MiCHELE : Lotto. 
S. Spirito : Lotto, Previtali. 
Gallery : Bartolommeo Veneto, Montagna. 
Antonello, Barbari, Basaiti, Giovanni Bellini, 
Bissolo, Bordone, Cariani, Carpaccio, Ca- 
tena, Cima, Crivelli, Gioi^one, Guardi, 
Lotto, Montagna, Palma, Previtali, Savoldo, 
Sebastiano del Piombo, Rondinelli, Tiepolo, 
Tintoretto, Titian, Alvise Vivarini, Barto- 
lommeo Vivarini. 
Gallery : Bassano, Cima, Tintoretto. 
Gallery Tosio : Bissolo, Lotto, Tintoretto. 
S. Afra : Tintoretto. 
S. Alessandro : Jacopo Bellini. 
S. Nazaro e Celso : Titian. 
Brunswick. Gallery : Palma Vecchio. 
Brussels. Crivelli. 
Buda-Pesth. Gentile Bellini, Catena, Crivelli, Giorgione, 

Licinio. 
Cambridge. Fitzwilliam Museum : Guardi, Palma. 
Campo S. Piero. Oratory of S. Antonio ; Bonifazio (in 

part). 
Casarsa. Parish Church : Pordenone. 
Castelfranco. Church : Giorgione. 
Ceneda. Madonna di Meschio : Previtali. 
Certosa (near Pavia). Montagna. 



Bolog^na. 
Brescia. 



INDEX OF PLACES 



133 



Douai. 
Dresden. 



Celana (near Bergamo). Lotto. 
Cingoli. S. DoMENico : Lotto. 
Cittadella. Duomo : Bassano. 
Colalto. S. Salvatore : Pordenone. 
Cologne. Gallery : Bordone. 
Conegliano. Duomo : Cima. 
Costa di Mezzate (near Gorlago). Lotto. 
Cremona. Duomo : Pordenone. 
Bartolommeo Veneto, 

Antonello, Barbari, Bartolommeo Veneto, Bas- 
sano, Bonifazio, Bordone, Canaletto, Catena, 
^Cima, Giorgione, Licinio, Longhi, Lotto, 
Palma Vecchio, Previtali, Tintoretto, Titian, 
Veronese. 
Tintoretto. 

Seminario : Bassano. 
Gallery: Carpaccio. 
Carmine: Rondinelli. 
Casa Bernetti : Savoldo, B. Vivarini, 
PiTTi : Barbari, Bonifazio, Bordone, S. del 

Piombo, Tintoretto, Titian, Veronese. 
Uffizi : Bartolommeo Veneto, Bassano, Gio- 
vanni Bellini, Bordone, Canaletto, Carpac- 
cio, Giorgione, Licinio, Lotto, Palma 
Vecchio, S. del Piombo, Rondinelli, Tinto- 
retto, Titian, Veronese. 
Palazzo Panciatichi : Crivelli. 
Mr. Loeser : Savoldo, Longhi, Alvise Vivarini. 
Gallery: Rondinelli. 
Duomo : Rondinelli. 

Gallery : Bartolommeo Veneto, Crivelli. 
Brignole-Sale : Bordone, Licinio, Palma 

Vecchio. 
Prince Giorgio Doria : Bartolommeo Veneto. 
Palazzo Balbi-Senarega : Titian. 
S. Annunziata : Bissolo. 
Hague. Gallery : Bonifazio. 



Escurial. 
Feltre. 
Ferrara. 
Fermo. 

Florence. 



Forll. 

Frankfort. 
Genoa. 



134 7W^ VENETIAN PAINTERS 

Hampton Court. Bassano, Bissolo, Bonifazio, Bordone, 

Canaletto, Cariani, Giorgione, Licinio, 
Pietro Longhi, Lotto, Palma Vecchio, Sa- 
voldo, Tintoretto, Titian. 
JesL Library: Lotto. 

MuNiciPio: Lotto. 
Lille. Bonifazio. 

London. National Gallery : Antonello, Bartolommeo 

Veneto, Basaiti, Bassano, Gentile Bellini, 
Giovanni Bellini, Bonifazio, Bonsig^ori, 
Bordone, Canaletto, Cariani, Carpaccio, 
Catena, Cima, Crivelli, Guardi, Lidnio, 
Pietro Longhi, Lotto, Pafma Vecchio, Pre- 
vitali, Savoldo, Sebastiano del Piombo, 
Tiepolo, Tintoretto, Titian, Veronese, Bar- 
tolommeo Vivarini. 

Lady Ashburton : Crivelli, Guardi, Licinio. 

Bridgewater House: Bordone, Lotto, Tinto- 
retto, Titian. 

Mr. W. B. Beaumont : Catena. (?) 

Mr. R. H. Benson : Bartolommeo Veneto, Ba- 
saiti, Bassano, Bissolo, Bonifazio, Cariani, 
Carpaccio, Catena, Crivelli, S. del Piombo. 

Mr. C. Butler : Bassano, Bonifazio, Licinio, 
Tintoretto, Bartolommeo Vivarini. 

Prof. Conway : Lotto. 

Mr. Doetsch : Barbari, Bassano, Cariani, 
Guardi, Licinio, Savoldo, Tintoretto. 

Dorchester House : B. Veneto, Canaletto, 
Lotto, Pordenone, Tintoretto. 

Sir Wm. Farrer : Cariani, Guardi, Montagna, 
Tintoretto. 

Duke of Grafton : S. del Piombo. 

Mr. T. p. Hezeltine : Catena. 

Mr. Ludwig Mond : Giovanni and Gentile 
Bellini, Bissolo, Canaletto, Catena, Cima, 
Crivelli, Guardi, P. Longhi, Palma, Savoldo, 
S, del Piombo, Tintoretto, Titian, 



INDEX OF PLACES 1 35 

London {Con^. Mr. Alfred Morrison : Bonsignori. 
Lord Northbrook : Crivelli. 
Dr. J. P. RiCHTER : Giovanni Bellini, Boni- 
fazio, Bordone, Canaletto, Catena, Guardi, 
Tiepolo, Veronese. 
Sir Charles Robinson : Alvise Vivarini. 
Mr. Salting : Basaiti, Cariani, Guardi, Tinto- 
retto, Alvise Vivarini. 
Loreto. Palazzo Apostolico : Lotto. 
Lovere. Gallery Tadini : Jacopo Bellini, Bordone. 
Lucca. Gallery: Tintoretto. 

Macerata. Gallery: Crivelli. 
Madrid. Giorgione, Lotto, S. del Piombo, Tintoretto, 

Titian, Veronese. 
Mantua. Accademia Virgiliana : Bonsignori. 
Maser. Villa Barbaro : Veronese. 

Massa Fermana. Municipio : Crivelli. 
Medole (near Brescia). DuoMO : Titian. 
Milan. Brer a : Gentile Bellini, Giovanni Bellini, Bisso- 

lo, Bonifazio, Bonsignori, Bordone, Cariani, 
Carpaccio, Cima, Crivelli, Lotto, Montagna, 
Palma Vecchio, Previtali, Rondinelli, Sa- 
voldo, Tintoretto, Titian, Veronese. 
Poldi-Pezzoli : Bonifazio, Crivelli, Guardi, 

Lotto, Montagna, Tiepolo. 
MuSEO Civico : Antonello, Cariani, Crivelli, 

Guardi, Licinio, Lotto, Rondinelli. 
Ambrosiana : Bartolommeo Veneto, Basaiti, 

Bassano, Bonifazio, Cariani, Savoldo. 
Archbishop's Palace : Bordone, Licinio. 
Bagati-Valsecchi : Alvise Vivarini. 
Borromeo : Bartolommeo Veneto, Lotto. 
Bonomi-Cereda : Cariani, Previtali, Alvise 

Vivarini. 
Palazzo Chierici : Tiepolo. 
Crespi : Licinio. 

Dr. Gust. Frizzoni : Giovanni Bellini, Cariani, 
Lotto, Montagna, Previtali. 



136 



THE VENETIAl^ PAINTERS 



Munich. 



Milan {Con^, Sormani : Canaletto. 

Prince Trivulzio : Antonello. 
S. Maria presso Celso : Bordone. 
Modena. Gallery : Bonifazio, Cima, Licinio. 
Montefiorentino. Alvise Vivarini. 
Monte San Giusto. S. Maria : Lotto. 
Motta di Livenza. Scarpa Gallery : S. del Piombo. 
S. Maria dei Miracoli : Pordenone. 
Basaiti, Bassano, Bordone, Cariani, Cima, Lotto, 

Palma, Tiepolo, Titian. 
LoTZBECK Collection : Bassano, Cariani, Sa- 

voldo. 
S. PiETRO : Basaiti, Giovanni Bellini. 
S. Maria degli Angeli : Pordenone. 
B. Veneto, Lotto. 

Antonello, Giov. Bellini, Lotto, Palma, S. del 
Piombo, Pordenone (?), Titian, Alvise Viva- 
rini, Bartolommeo Vivarini. 
Tavlorian Museum : Guardi. 
Christ Church Library : Previtali. 
Gallery : Basaiti, Jacopo Bellini (?), Bordone, 
Catena, Guardi, Licinio, Previtali, Rondi- 
nelli, Tiepolo, Alvise Vivarini. 
Santo : Tiepolo. 

Scuola del Santo : Montagna, Titian. 
S. GIUSTINA : Veronese. 
S. Maria in Vanzo : Bassano, Montagna. 
Bishop's Palace : Montagna. 
Panshanger (Lord Cowper). Montagna, Tintoretto. 



Mnrano. 

Nancy. 
Naples. 



Oxford. 



Padua. 



Paris. 



Parma. 
Pausuia. 



Louvre : Antonello, B. Veneto, Bassano, Gentile 
Bellini (?), Bonafazio, Bordone, Canaletto, 
Cariani, Carpaccio, Catena, Cima, Crivelli, 
Giorgione, Guardi, Lotto, Montagna, Palma, 
S. del Piombo, Rondinelli, Tiepolo, Tin- 
toretto, Titian, Veronese, Alvise Vivarini, 
Bart. Vivarini. 

Gallery : Cima, S. del Piombo, Tiepolo. 

S. Agostino : Crivelli. 



INDEX OF PLACES 



137 



Rimini. 
Rome. 



Peghera. Church: Palma. 

Pesaro. Gallery : Giovanni Bellini. 

S. Francesco : Giovanni Bellini. 
Piacenza. S. Maria della Campagna : Pordenone. 
Piovc (near Padua). S. N1CCOL6 : Tiepolo. 
Ponteranica (near Bergamo). Church : Lotto. 
Pordenone. Municipio : Pordonone. 

DuoMO : Pordenone. 
Praglia (near Padua). Refectory : Montagna. 
Ravenna. Gallery : Rondinelli. 

S. DoMENico : Rondinelli. 
Recanati. Municipio: Lotto. 

S. DoMENico : Lotto. 

S. Maria sopra Mercanti : Lotto. 
Richmond. Sir Francis Cook : Antonello, Bordone, Cima, 

Crivelli, Guardi, Tiepolo, Tintoretto. 

Municipio : Giovanni Bellini. 

Villa Borghese : Antonello, Bassano, Bissolo, 
Bonifazio, Cariani, Giorgione, Licinio, Lotto, 
Palma, Savoldo, Titian, Veronese. 

Capitol: Lotto, Palma, Rondinelli, Savoldo, 
Tintoretto, Titian. 

Chigi Collection : Bonifazio, Titian. 

CoLONNA Gallery : Bonifazio, Bordone, Palma, 
Tintoretto, Veronese. 

DoRiA Gallery : Basaiti, Bordone, I-,otto, Ron- 
dinelli, S. del Piombo, Tintoretto, Titian. 

Farnesina : S. del Piombo. 

Lateran: Crivelli. 

RospiGLiosi Gallery : Lotto. 

ToRLONiA : Bartolommeo Veneto, Cariani. 

Vatican : Gentile Bellini (?), Crivelli, Titian. 

S. Maria del Popolo : S. del Piombo. 

S. PiETRO IN Montorio : S. del Piombo. 

Gallery : Guardi. 
San Daniele (near Udine). DuoMO : Pordenone. 
Sedrina. Church : Lotto. 
Serina. Church : Palma. 



Rouen. 



138 



THE VENETIAN PAINTERS 



Serravalle. Duomo: Titian. 

Seven Oaks. Lord Amherst : Savoldo. 

Siena. Gallery : Bordone. 

Spilimbergo. Duomo: Pordenone. 

Strasburg. Gallery: Basaiti, Bordone, Cariani, Crivelli, 

Guardi, Montagna. 
Stuttgart. Gallery : Basaiti, Bassano, Cariani, Carpaccio, 

Rondinelli. 
St. Petersburg. Hermitage : Cariani, S. del Piombo. 
Susigana. Parish Church : Pordenone. 
Trescorre. Suardi Chapel : Lotto. 
Torre. Church : Pordenone. 

Treviso. Gallery : Bordone, Lotto. 
S. Andrea : Bissolo. 
S. Cristina : Lotto. 

Duomo : Bissolo, Bordone, Pordenone, Titian. 
S. Niccol6 : Barbari, S. del Piombo, Savoldo. 
i8 Piazza del Duomo : Barbari. 
Turin. Giovanni Bellini, Guardi, Tiepolo, Tintoretto, 

B. Vivarini. 
Udine. Municipio: Tiepolo. 

S. Maria della PietA, Tiepolo. 
Urbino. Ducal Palace : Titian. 
CasaAlbani: Savoldo. 
Venice. Academy : Antonello, Basaiti, Bassano, Gentile 

Bellini, Giovanni Bellini, Jacopo Bellini, Bis- 
solo, Bonifazio, Bordone, Cariani, Carpaccio, 
Catena, Cima, Crivelli, Guardi, Licinio, Lon- 
ghi, Montagna, Palma Vecchio, Pordenone, 
Savoldo, Tiepolo, Tintoretto, Titian, Vero- 
nese, Al vise Vivarini, Bartolommeo Vivarini. 
MusEO Correr : Basaiti, Giovanni Bellini, Ja- 
copo Bellini (?), Bissolo, Carpaccio, Guardi, 
Longhi, Rondinelli, Alvise Vivarini. 
Palazzo Ducale : Bartolommeo Veneto, Bas- 
sano, Giovanni Bellini, Bonsignori, Bordone, 
Carpaccio, Catena, Previtali, TintQretto, 
Titian, Veronese, 



INDEX OF PLACES 1 39 

Venice {Qm,\ Quirini-Stampalia : Catena, Longhi, Palma, 

Tiepolo. 

Palazzo Reale: Bassano, Bonifazio, Tinto- 
retto. Titian. 

Seminario : Giorgione, Ciroa, Tiepolo, Alvise 
Vivarini. 

Prince Giovanelli : Antonello, Basaiti, Boni- 
fazio. Bordone, Catena, Giorgione. Palma, 
Rondinelli, Tintoretto, Titian. 

Lady Layard : Barbari. Gentile Bellini. 
Bissolo, Bonifazio, Bonsig^ori, Bordone, 
Carpaccio, Cima, Montagna, Palma, S. del 
Piombo, Previtali, Rondinelli, Savoldo, 
Alvise Vivarini. 

Palazzo Grassi : Longhi. 

Palazzo Labia : Tiepolo. 

Palazzo Rezzonico : Tiepolo. 

S. Alvise : Tiepolo. 

Santi Apostoli : Tiepolo. 

S. Bartolommeo in Rialto : S. del Piombo. 

S. BarnabA. : Veronese. 

Carmine : Cima, Lotto. 
ScuoLA DEL Carmine : Tiepolo. 

S. Cassiano : Tintoretto. 

S. Caterina : Veronese. 

S. Fantino : Rondinelli. 

S. Fava : Tiepolo. 

S. Francesco della Vigna : Giovanni Bellini, 
Veronese. 

Frari : Barbari, Giovanni Bellini, Licinio, 
Titian, Alvise Vivarini, Bartolommeo Viva- 
rini. 

Gesuati : Tiepolo. 

Gesuiti: Tintoretto, Titian. 

S. Giacomo dell* Orio : Bassano, Lotto. 

S. GiOBBE : Bordone, Previtali, Savoldo. 

S. Giorgio Maggiore : Tintoretto. 



140 THE VENETIAN PAINTERS 

Venice (Con.), S. Giorgio degli Schiavoni : Carpaccio. 

S. Giovanni in Bragora : Bissolo, Bordone, 
Cima, Alvise Vivarini, Bartolommeo Vi- 
varini. 

S. Giovanni Crisostomo : Giovanni Bellini, 
S. del Piombo. 

S. Giovanni Elemosinario : Pordenone, Titian. 

S. Giovanni b Paolo : Bonsignori, Cima, 
Lotto, Tiepolo, Alvise Vivarini, Barto- 
lommeo Vivarini. 

S. GuisEPPE IN Castello : Tintoretto. 

S. Lio : Titian. 

S. Marco : Gentile Bellini. 

S. Marcuolo : Titian. 

S. Maria Formosa : Palma, Bartolommeo Vi- 
varini. 

S. Maria Mater Domini : Bissolo, Catena, 
Tintoretto. 

S. Maria dell' Orto : Giov. Bellini, Cima, 
Tintoretto. 

S. Maria della PietA : Tiepolo. 

S. Marziale: Tintoretto, Titian. 

S. Paolo : Tiepolo, Tintoretto. 

S. PiETRO Di Castello : Basaiti. 

Redentore : Bissolo, Previtali, Alvise Vivarini. 

S. Rocco : Giorgione, Pordenone, Tintoretto. 

SCUOLA DI S. Rocco : Tintoretto, Titian. 

Salute : Basaiti, Tintoretto, Titian. 

S. Salvatore : Titian. 

SCALZI; Tiepolo. 

S. Sebastiano : Titian, Veronese. 

S. Simeon Profeta : Catena. 

S. Stefano : Pordenone, Tintoretto. 

S. Trovaso : Jacopo Bellini (?), Catena, Tinto- 
retto. 

S. Vitale : Carpaccio. 

S. Zaccaria : Giovanni Bellini, Tintoretto. 



INDEX OP PLACMS 



I4t 



Vicenza. 



Verona. Gallery: Basaiti, Bassano, Giovanni Bellini, 

Jacopo Bellini, Guardi, Montagna, Previtali, 
Tiepolo, Titian, Veronese. 

DuoMO: Titian. 

S. Giorgio : Veronese. 

S. Nazaro b Celso : Montagna. 

S. Paolo : Veronese. 

Gallery : Antonello, Bassano, Cariani, Cima, 
Monti^na, Tiepolo, Tintoretto, Veronese. 

Palazzo Loschi : Gioi^one. 

Villa Valmarana : Tiepolo. 

S. Corona : Giovanni Bellini, Montagna. 

DuoMO ; Montagna. 

S. Lorenzo : Montagna. 

Monte Berico : Montagna, Veronese. 

S. Stefano : Palma. 

Imperial Museum : Barbari, Basaiti, Bassano, 
Bissolo, Bonifazio, Bordone, Cariani, Car- 
paccio. Catena, Cima, Giorgione, Licinio, 
Lotto, Palma, Previtali, Savoldo, S. del 
Piombo, Tintoretto, Titian, Veronese, 
Alvise Vivarini, Bartolommeo Vivarini. 

Academy : Bassano, Cariani, Tiepolo. 

CzOrnin : Bordone, Titian. 

Lichtenstein : Bordone, Canaletto, Palma 
Vecchio, Savoldo. 

MuNiciPio : S. del Piombo, 

Gaujkiiy : Barbari. 
Windsor Castle. Jinale, Alvise Vivarini. 
Woburn Abbey. Bassano, Canale, Tintoretto. 
Zog^o. Church: Cariani. 



Vienna. 



Viterbo 
Weimar. 



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